diff --git a/.DS_Store b/.DS_Store index aa9ab2f..0ba692f 100644 Binary files a/.DS_Store and b/.DS_Store differ diff --git a/__pycache__/contextualise.cpython-37.pyc b/__pycache__/contextualise.cpython-37.pyc index 92df553..e2d9ae8 100644 Binary files a/__pycache__/contextualise.cpython-37.pyc and b/__pycache__/contextualise.cpython-37.pyc differ diff --git a/allhtml.txt b/allhtml.txt index 250ba53..cd2ffb1 100644 --- a/allhtml.txt +++ b/allhtml.txt @@ -1,73 +1,104 @@ - Thu 17 Mar 2016 19:00hrs +Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. +TUNING – DETUNING / NOTING – DENOTING +with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. + +Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. + Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam + +Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs +@ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. + +For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam + +Fri 20 Jan 2017 20:00hrs +@DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - Fri 24 Mar 2017 20:00hrs +Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. + + +Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - Sun 15 Oct 2017 15:00hrs + +An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. + + +Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp + TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - Fri 12 Jan 2018 20:30hrs +Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. + + +Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM + + This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ + +Sat, 14 & Sun. 15 April 2018 +DE PLAYER presents ‘Greatest Hits’ + A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. +‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. + - Fri 22 Jun 2018 20:30hrs +Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN +E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN + As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - Thu 29 Nov 2018 20:00hrs + +Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE +ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE + + On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? Experimental Jetset (nl) Davide Mosconi (it) + DUPAC (int) Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) + +Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) + Telcosystems (nl) Floris Vanhoof (be) -Rafaël Rozendaal (nl) + +Rafaël Rozendaal (nl) + Valentina Vuksic (ch) Ana Guedes (pt) + Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) -Jörg Piringer (at) +Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) -Aurélie Lierman (be) +Aurélie Lierman (be) + Max Franklin (au) Remco van Bladel (nl) + Johannes Bergmark (se) + Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) @@ -75,6 +106,7 @@ Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) + Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) @@ -82,64 +114,66 @@ Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) + Vos van der Noordt (nl) Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen +studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] + +studenten Artez Fine arts & Graphic Design, Arnhem +studenten Fontys Academie, Tilburg +Witte de With CCA, Rotterdam +Pinkie Bowtie, Antwerpen Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede + Paradiso, Amsterdam + WORM, Rotterdam + South Explorer, Rotterdam + Technische Universiteit van Enschede Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. +Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music. +It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. +Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? + +Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. +Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, +What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. +The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come. +Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 +creation date: 24/03/2017 +publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg +artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - +DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. +Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. Type of object: event title:Principium 2.0 -date: 2 Jyly 2017 +date: 2 July 2017 location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING +artist: Remörk, Kris Delacourt +type of object: event +title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel +artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. +Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. +* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. WHO??? YANN GOURDON (fr) @@ -147,25 +181,23 @@ Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory f http://ygourdon.net/ -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. +RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. http://www.slowempty.com/ -http://www.newrafael.com +http://www.newrafael.com FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. +Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ +http://www.bmbcon.demon.nl/justin/ -■ REMCO VAN BLADEL (nl) +REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. +He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. +We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense. As a composer, funnily enough, Charlemagne hardly uses any scores. Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. They are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 @@ -185,7 +217,7 @@ Vaast Colson we know already for quite a while as an interesting artist. Because -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. +Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. @@ -197,103 +229,103 @@ Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. +Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. -Author: Kris Delacourt, Remörk, DE PLAYER +Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. +We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. +Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. +What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. +There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… +For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at +This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  +>I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. +-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. +The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  +What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  +Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. +And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. +I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. +The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. +Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. +And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. +Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. +After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. >Is this LP the final version of this project, or do you see it even evolve into next stages? --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  +-Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  +>Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. +-Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  +But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. >Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. +-You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. +Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  +>Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. +-There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  +>Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. +-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  +>I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. +-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  +But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   +>You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  +-I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  +Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  +-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  +I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  +>The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. +-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. ->Do you see this as a drone record? Or as a collage record?  +>Do you see this as a drone record? Or as a collage record?  --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. +-If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. >Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event +-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. +Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. @@ -303,32 +335,32 @@ The record or musical piece in these cases is not used as a reproductive techniq The defective record and not the even, smooth reproduction means quality and concept at the same time. Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” +“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. +In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. +-With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com +“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” +Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. +-Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” +About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.netType of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel +artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. +Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. @@ -340,18 +372,18 @@ title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) +artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. +Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. WHO??? HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. +Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. +Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. www.helgajakobson.com JOHANNES BERGMARK (se) @@ -359,7 +391,7 @@ Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and http://bergmark.org XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. +Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart -Piet Zwart Institute > TGC #3 seminar + live event @@ -371,14 +403,14 @@ title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. +Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen +Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. @@ -390,7 +422,7 @@ artist: Remco van Bladel Description: WHAT ? 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: +'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. @@ -407,11 +439,11 @@ The work was installed for a period at The Small Museum; a cabinet on the facade 'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. +In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). +For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. @@ -420,12 +452,12 @@ As far as melody is concerned, humming was increasingly defined by the expansion One of the influences for our project Pushing Scores. -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. +Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. +He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. +After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. Attali believes that music has gone through four specific cultural stages in its history: 1. Sacrificing @@ -435,13 +467,13 @@ Attali believes that music has gone through four specific cultural stages in its The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. +The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. +He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: +Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. +music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. @@ -456,25 +488,25 @@ date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. +Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. +What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. +Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. +Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” +About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. http://macumbista.net -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. +Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. @@ -482,7 +514,7 @@ Over the past few years, a strong reaction against the sterile world of laptop s video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often +long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics. John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical composition that Serge had ever made", and it is precisely Cage's reformulation of the @@ -522,7 +554,7 @@ https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 -Photo credit: Anders Børup +Photo credit: Anders Børup Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. a theoretical/historical text about the concept written by Derek Holzer @@ -534,20 +566,20 @@ The Vectorian Era opens with a screaming across the sky. Analog electronic compu Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. +In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. +In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. +Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. +Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” +George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. +Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” +One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. @@ -558,7 +590,7 @@ Before music was established in writing, each choir leader led the Gregorian cha publication title: Each One catalogue number: DOB 089 -artist: Jörg Piringer +artist: Jörg Piringer description: 10" vinyl dubplate each one with original sound and related artwork @@ -573,12 +605,12 @@ Piringer has performed in DE PLAYER with his visual sound poetry pieces based on -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. +Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. +For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. +The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. +Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. URL: http://huellkurven.net https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. @@ -590,7 +622,7 @@ Multilingualism is important in giving meaning to the things around us. Publishi We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. +Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs @@ -600,17 +632,17 @@ artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. +Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. +Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. +Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. +Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." +Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum +He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: @@ -618,29 +650,29 @@ http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. +‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz +URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. +The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn. URL: https://www.deplayer.nl/releases/dob046-10-fersteinn -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. +The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. +He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. +His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. +Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. +Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. Before language there was the song. -Before the song there was the yodel.” +Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling. I think silence has that same trelations with music. emptiness has that same relation with notation. @@ -671,17 +703,7 @@ Johannes Kreidler is a special duck in the bite when it comes to composing. His Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator -(How Could You) Bring Him Home by Eamon +This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far.(How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi @@ -831,6 +853,13 @@ Doing It Right by The Go! Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy +From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. + +He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. +His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. + +This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. +For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. title:ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL @@ -841,21 +870,21 @@ catalogue number: DOB 096 artist: Ana Guedes description event: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. participating artists: -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. +- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics -Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This ‘other way’ around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. +Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This 'other way' around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. -Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague. She works with sound, video, installation and performance. Her research focuses on the 'dialectic of tuning'. Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'. Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation. Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records. An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music. The records come from Angola, Portugal and Canada. -UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. +UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents. Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space. @@ -867,37 +896,36 @@ date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ? -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. +An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. +Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. artists: WHO ? -■ HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. +* HIELE MARTENS (be) +Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. http://kraak.net/festival2017/artist/hiele-martens -■ HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. +* HELGA JAKOBSON (ca) +Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. www.helgajakobson.com -■ JOHANNES BERGMARK (se) +* JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. http://bergmark.org -■ XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. +* XPUB (int'l) +Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part. Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER. We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented. Also the idea of a spider web as a score of course matched with the Pushing Scores project. Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label.Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral. Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement. This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter. She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs. Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors. She passes on the notation she distils from this to music companies in order to come to performances. about her work considering Arachnes Sonifier: -Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  +Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  -Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” +Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” -The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. +The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. -The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  +The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  type of project: publication title: ORE catalogue number: DOB 092 @@ -905,30 +933,30 @@ artist: BJ Nilsen description: -This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. +This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time. As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning. What is the relationship between the sounds of mining and the community that surrounds it? Where does mining stop? How much influence does it have on a community? Over the years he has built up an extensive sound archive around this subject. Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere. In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes. In the final processing of the sound, he uses the facets of mining as different sound tracks. The composition follows a more or less linear path - starting with 'deep' time. This line is interrupted a few times and the different time periods work together and overlap. It is a mix of sound recordings made at different times. Sometimes recordings from four years ago are combined with more recent recordings. Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future. For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies. The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that. Of course, it only becomes interesting when the resources on earth are exhausted. For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid. In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener. -There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. +There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned. Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies. He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts. His writings have also been influential in the scholarly area of sound studies and the practical area of sound art. His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999. Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance. He discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. -That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. +That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin BJ Nilsen -‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ +‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ -‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ +‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices @@ -939,7 +967,7 @@ Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) -Rare-earth elements (bastnäsite, loparite, monazite, xenotime) +Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) @@ -949,57 +977,57 @@ Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes -Fe – 68% -SiO2 – 5.00 -Al2O3 – 0.30 -S – 0.08 -P – 0.01 -Mn – 0.05 -Na2O – 0.01 -K2O – 0.03 -CaO – 0.35 -MgO – 0.45 -H2O – 8.00 +Fe – 68% +SiO2 – 5.00 +Al2O3 – 0.30 +S – 0.08 +P – 0.01 +Mn – 0.05 +Na2O – 0.01 +K2O – 0.03 +CaO – 0.35 +MgO – 0.45 +H2O – 8.00 Size of the product over 0.15mm: less than 0.2% -0.053mm – 0.15mm: less than 20% +0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt -‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ +‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. -‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ +‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ -‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ +‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ -‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ +‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 -‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ +‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34. -‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. +‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ +Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. -‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ +‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ -‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. +‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ +Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. -‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ +‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ -‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ +‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ -‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ +‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ -‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ +‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ -‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ +‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ publication title: Black Moon catalogue number: DOB 096 @@ -1007,7 +1035,7 @@ artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days. The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience. By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener. The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process. -John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. +John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara. He also made periodic broadcasts from his own home. @@ -1020,12 +1048,12 @@ location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? WHO ??? -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. +- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethicsWe know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc. It is based in Rotterdam in the area were we operate. We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores. Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project. @@ -1033,23 +1061,23 @@ To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions. People who make black MIDIs are known as blackers. However, there are no specific criteria of what is considered "black"; as a result, finding an exact origin of black MIDI is impossible. DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production. This not only counts for publishing but also for exploring new possibilities for the art practise in general. -Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. +Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications. This one is pretty contemporary one and results in great imagery and sound. Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI. -Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” +Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes. They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI. -The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. +The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner. Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs. Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues. Analysis and reception[edit] -The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." +The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge. It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes. Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and "splatter-chords" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano. event: title: MUSIC&CAPITALISM @@ -1074,72 +1102,100 @@ Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending gl Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. -For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. +For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event. As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies. -Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. +Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. -In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. +In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. - Thu 17 Mar 2016 19:00hrs +Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. + Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. + Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam + +Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs +@ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM + For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam + +Fri 20 Jan 2017 20:00hrs +@DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER + Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - Fri 24 Mar 2017 20:00hrs + +Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB + + An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - Sun 15 Oct 2017 15:00hrs + +Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp + TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION + Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - Fri 12 Jan 2018 20:30hrs + +Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM + + This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ + +Sat, 14 & Sun. 15 April 2018 +DE PLAYER presents ‘Greatest Hits’ + A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - Fri 22 Jun 2018 20:30hrs + +Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN + As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - Thu 29 Nov 2018 20:00hrs + +Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE +ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE + + On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? Experimental Jetset (nl) Davide Mosconi (it) + DUPAC (int) Studio Moniker (nl) + Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) + Telcosystems (nl) Floris Vanhoof (be) + Rafaël Rozendaal (nl) + Valentina Vuksic (ch) Ana Guedes (pt) + Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) @@ -1149,9 +1205,12 @@ Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) + Max Franklin (au) Remco van Bladel (nl) + Johannes Bergmark (se) + Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) @@ -1159,6 +1218,7 @@ Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) + Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) @@ -1166,37 +1226,41 @@ Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) + Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen + +studenten Artez Fine arts & Graphic Design, Arnhem +studenten Fontys Academie, Tilburg +Witte de With CCA, Rotterdam +Pinkie Bowtie, Antwerpen Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede + Paradiso, Amsterdam + WORM, Rotterdam + South Explorer, Rotterdam + Technische Universiteit van Enschede Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. +Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music. +It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. +Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? + +Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. +The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come. +Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 +creation date: 24/03/2017 +publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] @@ -1204,16 +1268,14 @@ DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 m - - Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. Type of object: event title:Principium 2.0 -date: 2 Jyly 2017 +date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt -Type of object: event +type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam @@ -1231,25 +1293,23 @@ Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory f http://ygourdon.net/ -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. +RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. http://www.slowempty.com/ -http://www.newrafael.com +http://www.newrafael.com FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. +Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ +http://www.bmbcon.demon.nl/justin/ -■ REMCO VAN BLADEL (nl) +REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. +We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense. As a composer, funnily enough, Charlemagne hardly uses any scores. Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. They are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 @@ -1755,3551 +1815,7 @@ Johannes Kreidler is a special duck in the bite when it comes to composing. His Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator -(How Could You) Bring Him Home by Eamon -(I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin -(Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires -(You Want To) Make A Memory by Bon Jovi -1234 by Feist -1973 by James Blunt -2 Hearts by Kylie Minogue -3's & 7's by Queens Of The Stone Age -4 Am Forever by Lostprophets -4 In The Morning by Gwen Stefani -505 by Arctic Monkeys -A Bad Dream by Keane -A Big Hunk O' Love by Elvis Presley With The Jordanaires -A Day In The Life by Larrikin Love -A Moment Like This by Leona Lewis -A Never Ending Dream by Cascada -A Public Affair by Jessica Simpson -A Whole New World by Katie Price & Peter Andre -About You Now by Sugababes -About Your Dress by The Maccabees -Acceptable In The 80s by Calvin Harris -Acrylic by The Courteeners -Adagio For Strings by DJ Tiesto -Ain't No Party by Orson -Alarm Clock by The Rumble Strips -Alfie by Lily Allen -All Good Things (Come To An End) by Nelly Furtado -All I Got by Newton Faulkner -All I Need To Know by Emma Bunton -All I Want For Christmas Is You by Mariah Carey -All My Friends by LCD Soundsystem -All She Wrote by Ross Copperman -Almost Easy by Avenged Sevenfold -Always On My Mind by Elvis Presley -Amazing by Seal -America by Razorlight -An American Trilogy by Elvis Presley -An End Has A Start by Editors -Anarchy In The UK by The Sex Pistols -Angel On My Shoulder by Gareth Gates -Annie Let's Not Wait by Guillemots -Anonymous by Bobby Valentino feat. Timbaland -Another One Bites The Dust by Queen vs. The Miami Project -Anthem by Filo & Peri feat. Eric Lumiere -Any Dream Will Do by Lee Mead -Anything by JoJo -Anything Can Happen In The Next Half Hour by Enter Shikari -Apologize by Timbaland Pres. One Republic -Are You Trying To Be Lonely by Andy Lewis & Paul Weller -Arnold Layne by David Gilmour -Australia by The Shins -Autumnsong by Manic Street Preachers -Away From Here by The Enemy -Axle Grinder by Pendulum -Ayo Technology by 50 Cent feat. Justin Timberlake & Timbaland -Baby Baby by Sunblock feat. Sandy -Baby Fratelli by The Fratellis -Baby Love by Nicole Scherzinger Feat. Will.I.Am -Baby When The Light by David Guetta -Baby's Coming Back by McFly -Baby's Coming Back / Transylvania by McFly -Back To Black by Amy Winehouse -Backfire At The Disco by The Wombats -Bad Girl (At Night) by Dave Spoon feat. Lisa Maffia -Balloons by Foals -Barbie Girl by Samanda -Be Without You by WiFi -Beautiful Girls by Sean Kingston -Beautiful Liar by Beyonce & Shakira -Beautiful Ones by Billiam -Because Of You by Ne-Yo -Bed by J. Holiday -Before I Fall To Pieces by Razorlight -Beggin by The Four Seasons -Beginning Of The End by Status Quo -Best Of You by Foo Fighters -Bet On It by Zac Efron -Better by Tom Baxter -Beware Of The Dog by Jamelia -Big Girl (You Are Beautiful) by Mika -Big Girls Don't Cry by Fergie -Bigger Than Big by Super Mal -Bing Bang (Time To Dance) by Lazytown -Blag Steal & Borrow by Koopa -Bleed It Out by Linkin Park -Bleeding Love by Leona Lewis -Blood Sugar by Pendulum -Blood Sugar / Axle Grinder by Pendulum -Blue Suede Shoes by Elvis Presley -Bones by The Killers -Boogie 2nite by Booty Luv -Books From Boxes by Maxïmo Park -Borders by The Sunshine Underground -Break Up by Kim Sozzi -Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens -Breathless by Shayne Ward -Brianstorm by Arctic Monkeys -Bubbly by Colbie Caillat -Burn Faster by Nine Black Alps -Burning Love by Elvis Presley -Call The Shots by Girls Aloud -Calm Down Dearest by Jamie T -Can We Chill by Ne-Yo -Can't Get Along (Without You) by Hard-Fi -Candyman by Christina Aguilera -Carolyna by Melanie C -Catch You by Sophie Ellis-Bextor -Chain Hang Low by Jibbs -Change by Sugababes -Changes by Gareth Gates -Charlotte by Air Traffic -Chasing Cars by Snow Patrol -Chelsea Dagger by The Fratellis -Clean Up Your Eyes by The Dykeenies -Closer by Travis -Clothes Off by Gym Class Heroes -Clumsy by Fergie -Con Te Partiro by Andrea Bocelli -Counting Down The Days by Sunfreakz Feat. Andrea Britton -Cowboy by Ch!pz -Crank That (Soulja Boy) by Soulja Boy Tell'em -Crash by Matt Willis -Crazy by Lumidee -Crazy by Gnarls Barkley -Crush Crush Crush by Paramore -Cry Over Me by Meat Loaf -Cupid's Chokehold by Gym Class Heroes feat. Patrick Stump -Curvy Cola Bottle Body by Chico -D.A.N.C.E. by Justice -Dance Tonight by Paul McCartney -Dancefloor by The Holloways -Dancing Lasha Tumbai by Verka Serduchka -Dare Me (Stupidisco) by Junior Jack feat. Shena -Dark Road by Annie Lennox -Delivery by Babyshambles -Desecration Smile by Red Hot Chili Peppers -Destination Calabria by Alex Gaudino feat. Crystal Waters -Different World by Iron Maiden -Do It by Nelly Furtado -Do It 2 Me by Cushh -Do It Again by The Chemical Brothers -Do It Well by Jennifer Lopez -Do It Yourself (Go Out And Get It) by Uniting Nations -Do They Know It's Christmas? by Band Aid -Do Without My Love by Nathan [UK] -Do You Know? (The Ping Pong Song) by Enrique Iglesias -Doing It Right by The Go! Team -Don't by Elvis Presley With The Jordanaires -Don't Dance by Midas -Don't Give It Up by Siobhan Donaghy -title:ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -time:Thu 29 Nov 2018 20:00hrs -location:VARIA, Rotterdam, NL - -publication: -title: Untitled Records -catalogue number: DOB 096 -artist: Ana Guedes - -description event: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -participating artists: -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. - -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - -- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics - -Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This ‘other way’ around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. --Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague. She works with sound, video, installation and performance. Her research focuses on the 'dialectic of tuning'. Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'. Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation. Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records. An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music. The records come from Angola, Portugal and Canada. - -UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. -The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents. -Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space. - -Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads. -The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection. -event title:TGC # 3 / MAT>NET>PU -participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -date: Fri 24 Mar 2017 20:00hrs -location: DE PLAYER, Rotterdam - -description: WHY ? -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - -Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. - -artists: WHO ? -■ HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -■ HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -■ JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -■ XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart -We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part. Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER. We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented. Also the idea of a spider web as a score of course matched with the Pushing Scores project. Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label.Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral. Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement. This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter. She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs. Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors. She passes on the notation she distils from this to music companies in order to come to performances. - -about her work considering Arachnes Sonifier: -Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  - -Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” - -The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. - -The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  -type of project: publication -title: ORE -catalogue number: DOB 092 -artist: BJ Nilsen - - -description: -This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. - -From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time. As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning. What is the relationship between the sounds of mining and the community that surrounds it? Where does mining stop? How much influence does it have on a community? Over the years he has built up an extensive sound archive around this subject. Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere. In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes. In the final processing of the sound, he uses the facets of mining as different sound tracks. - -The composition follows a more or less linear path - starting with 'deep' time. This line is interrupted a few times and the different time periods work together and overlap. It is a mix of sound recordings made at different times. Sometimes recordings from four years ago are combined with more recent recordings. Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future. For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies. The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that. Of course, it only becomes interesting when the resources on earth are exhausted. - -For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid. In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener. -There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. -Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned. - -Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies. He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts. His writings have also been influential in the scholarly area of sound studies and the practical area of sound art. His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999. - -Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance. He discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. - -That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. - -URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin - -BJ Nilsen - - -‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ - -‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ -Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 - -Mineral commodities used in mobile devices -Gallium (from bauxite), -Germanium (from sphalerite) -Graphite -Indium (from sphalerite) -Lithium (from amblygonite, petalite, lepidolite, spodumene) -Platinum -Potassium (from langbeinite, sylvite, and sylvinite) -Rare-earth elements (bastnäsite, loparite, monazite, xenotime) -Sand -Silicon (from quartz) -Silver (from argentite and tetrahedrite) -Tantalum (from columbite and tantalite) -Tin (from cassiterite) -Tungsten (from scheelite and wolframite) -Source: https://pubs.usgs.gov/gip/0167/gip167.pdf - -Chemical structure of the product of Sydvaranger mine, Kirkenes -Fe – 68% -SiO2 – 5.00 -Al2O3 – 0.30 -S – 0.08 -P – 0.01 -Mn – 0.05 -Na2O – 0.01 -K2O – 0.03 -CaO – 0.35 -MgO – 0.45 -H2O – 8.00 -Size of the product -over 0.15mm: less than 0.2% -0.053mm – 0.15mm: less than 20% -under 0.053mm: up to 80% - -Source: http://sydvarangergruve.no/produkt - - -‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ -Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. - -‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ - -‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ - - -‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ -Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 - -‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ -Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34. - -‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. - - -‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ - -‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. - -‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ - -‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ - -‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ - -‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ - -‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ -publication -title: Black Moon -catalogue number: DOB 096 -artist: John Duncan - -description: -Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days. The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience. By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener. The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process. -John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. - -In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara. He also made periodic broadcasts from his own home. - -The medium of radio still plays a role in arriving at compositions. The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. -event -title: ARCHIVING \ PUSHING SCORES -date:Thu 29 Nov 2018 20:00hrs -location: Varia, Rotterdam - -artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN - -description: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -WHO ??? -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. - -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - -- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethicsWe know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc. It is based in Rotterdam in the area were we operate. We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores. Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project. - -To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine. The UNI was developed by Niek Hilkmann and Joseph Knierzinger. It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered. It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project. His presentation was a cross-over between a lecture and a demonstration. On the spot, the audience could activate the UNI. -Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions. People who make black MIDIs are known as blackers. However, there are no specific criteria of what is considered "black"; as a result, finding an exact origin of black MIDI is impossible. - -DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production. This not only counts for publishing but also for exploring new possibilities for the art practise in general. -Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. -Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications. This one is pretty contemporary one and results in great imagery and sound. - -Origins and early history - -Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI. -Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” - -Popularity outside Japan - -The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes. They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI. -The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. -English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner. Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs. Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues. - -Analysis and reception[edit] - -The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." -Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge. It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes. Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and "splatter-chords" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location: SKAR office , Groot Handelsgebouw, Rotterdam - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA). The authority who controls copy right specifically for musicians. - -publication: -title: Spectral Arrows -catalogue number: DOB 065 -artist: Marco Fusinato -liverecordings by Gerben Kokmeijer -edited by Marco Fusinato - -description: -Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands - -Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. - -For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. - -Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event. As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies. - -Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. - -In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator -(How Could You) Bring Him Home by Eamon -(I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin -(Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires -(You Want To) Make A Memory by Bon Jovi -1234 by Feist -1973 by James Blunt -2 Hearts by Kylie Minogue -3's & 7's by Queens Of The Stone Age -4 Am Forever by Lostprophets -4 In The Morning by Gwen Stefani -505 by Arctic Monkeys -A Bad Dream by Keane -A Big Hunk O' Love by Elvis Presley With The Jordanaires -A Day In The Life by Larrikin Love -A Moment Like This by Leona Lewis -A Never Ending Dream by Cascada -A Public Affair by Jessica Simpson -A Whole New World by Katie Price & Peter Andre -About You Now by Sugababes -About Your Dress by The Maccabees -Acceptable In The 80s by Calvin Harris -Acrylic by The Courteeners -Adagio For Strings by DJ Tiesto -Ain't No Party by Orson -Alarm Clock by The Rumble Strips -Alfie by Lily Allen -All Good Things (Come To An End) by Nelly Furtado -All I Got by Newton Faulkner -All I Need To Know by Emma Bunton -All I Want For Christmas Is You by Mariah Carey -All My Friends by LCD Soundsystem -All She Wrote by Ross Copperman -Almost Easy by Avenged Sevenfold -Always On My Mind by Elvis Presley -Amazing by Seal -America by Razorlight -An American Trilogy by Elvis Presley -An End Has A Start by Editors -Anarchy In The UK by The Sex Pistols -Angel On My Shoulder by Gareth Gates -Annie Let's Not Wait by Guillemots -Anonymous by Bobby Valentino feat. Timbaland -Another One Bites The Dust by Queen vs. The Miami Project -Anthem by Filo & Peri feat. Eric Lumiere -Any Dream Will Do by Lee Mead -Anything by JoJo -Anything Can Happen In The Next Half Hour by Enter Shikari -Apologize by Timbaland Pres. One Republic -Are You Trying To Be Lonely by Andy Lewis & Paul Weller -Arnold Layne by David Gilmour -Australia by The Shins -Autumnsong by Manic Street Preachers -Away From Here by The Enemy -Axle Grinder by Pendulum -Ayo Technology by 50 Cent feat. Justin Timberlake & Timbaland -Baby Baby by Sunblock feat. Sandy -Baby Fratelli by The Fratellis -Baby Love by Nicole Scherzinger Feat. Will.I.Am -Baby When The Light by David Guetta -Baby's Coming Back by McFly -Baby's Coming Back / Transylvania by McFly -Back To Black by Amy Winehouse -Backfire At The Disco by The Wombats -Bad Girl (At Night) by Dave Spoon feat. Lisa Maffia -Balloons by Foals -Barbie Girl by Samanda -Be Without You by WiFi -Beautiful Girls by Sean Kingston -Beautiful Liar by Beyonce & Shakira -Beautiful Ones by Billiam -Because Of You by Ne-Yo -Bed by J. Holiday -Before I Fall To Pieces by Razorlight -Beggin by The Four Seasons -Beginning Of The End by Status Quo -Best Of You by Foo Fighters -Bet On It by Zac Efron -Better by Tom Baxter -Beware Of The Dog by Jamelia -Big Girl (You Are Beautiful) by Mika -Big Girls Don't Cry by Fergie -Bigger Than Big by Super Mal -Bing Bang (Time To Dance) by Lazytown -Blag Steal & Borrow by Koopa -Bleed It Out by Linkin Park -Bleeding Love by Leona Lewis -Blood Sugar by Pendulum -Blood Sugar / Axle Grinder by Pendulum -Blue Suede Shoes by Elvis Presley -Bones by The Killers -Boogie 2nite by Booty Luv -Books From Boxes by Maxïmo Park -Borders by The Sunshine Underground -Break Up by Kim Sozzi -Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens -Breathless by Shayne Ward -Brianstorm by Arctic Monkeys -Bubbly by Colbie Caillat -Burn Faster by Nine Black Alps -Burning Love by Elvis Presley -Call The Shots by Girls Aloud -Calm Down Dearest by Jamie T -Can We Chill by Ne-Yo -Can't Get Along (Without You) by Hard-Fi -Candyman by Christina Aguilera -Carolyna by Melanie C -Catch You by Sophie Ellis-Bextor -Chain Hang Low by Jibbs -Change by Sugababes -Changes by Gareth Gates -Charlotte by Air Traffic -Chasing Cars by Snow Patrol -Chelsea Dagger by The Fratellis -Clean Up Your Eyes by The Dykeenies -Closer by Travis -Clothes Off by Gym Class Heroes -Clumsy by Fergie -Con Te Partiro by Andrea Bocelli -Counting Down The Days by Sunfreakz Feat. Andrea Britton -Cowboy by Ch!pz -Crank That (Soulja Boy) by Soulja Boy Tell'em -Crash by Matt Willis -Crazy by Lumidee -Crazy by Gnarls Barkley -Crush Crush Crush by Paramore -Cry Over Me by Meat Loaf -Cupid's Chokehold by Gym Class Heroes feat. Patrick Stump -Curvy Cola Bottle Body by Chico -D.A.N.C.E. by Justice -Dance Tonight by Paul McCartney -Dancefloor by The Holloways -Dancing Lasha Tumbai by Verka Serduchka -Dare Me (Stupidisco) by Junior Jack feat. Shena -Dark Road by Annie Lennox -Delivery by Babyshambles -Desecration Smile by Red Hot Chili Peppers -Destination Calabria by Alex Gaudino feat. Crystal Waters -Different World by Iron Maiden -Do It by Nelly Furtado -Do It 2 Me by Cushh -Do It Again by The Chemical Brothers -Do It Well by Jennifer Lopez -Do It Yourself (Go Out And Get It) by Uniting Nations -Do They Know It's Christmas? by Band Aid -Do Without My Love by Nathan [UK] -Do You Know? (The Ping Pong Song) by Enrique Iglesias -Doing It Right by The Go! Team -Don't by Elvis Presley With The Jordanaires -Don't Dance by Midas -Don't Give It Up by Siobhan Donaghy -title:ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -time:Thu 29 Nov 2018 20:00hrs -location:VARIA, Rotterdam, NL - -publication: -title: Untitled Records -catalogue number: DOB 096 -artist: Ana Guedes - -description event: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -participating artists: -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. - -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - -- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics - -Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This ‘other way’ around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. --Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague. She works with sound, video, installation and performance. Her research focuses on the 'dialectic of tuning'. Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'. Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation. Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records. An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music. The records come from Angola, Portugal and Canada. - -UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. -The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents. -Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space. - -Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads. -The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection. -event title:TGC # 3 / MAT>NET>PU -participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -date: Fri 24 Mar 2017 20:00hrs -location: DE PLAYER, Rotterdam - -description: WHY ? -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - -Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. - -artists: WHO ? -■ HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -■ HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -■ JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -■ XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart -We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part. Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER. We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented. Also the idea of a spider web as a score of course matched with the Pushing Scores project. Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label.Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral. Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement. This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter. She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs. Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors. She passes on the notation she distils from this to music companies in order to come to performances. - -about her work considering Arachnes Sonifier: -Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  - -Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” - -The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. - -The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  -type of project: publication -title: ORE -catalogue number: DOB 092 -artist: BJ Nilsen - - -description: -This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. - -From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time. As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning. What is the relationship between the sounds of mining and the community that surrounds it? Where does mining stop? How much influence does it have on a community? Over the years he has built up an extensive sound archive around this subject. Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere. In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes. In the final processing of the sound, he uses the facets of mining as different sound tracks. - -The composition follows a more or less linear path - starting with 'deep' time. This line is interrupted a few times and the different time periods work together and overlap. It is a mix of sound recordings made at different times. Sometimes recordings from four years ago are combined with more recent recordings. Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future. For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies. The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that. Of course, it only becomes interesting when the resources on earth are exhausted. - -For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid. In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener. -There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. -Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned. - -Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies. He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts. His writings have also been influential in the scholarly area of sound studies and the practical area of sound art. His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999. - -Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance. He discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. - -That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. - -URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin - -BJ Nilsen - - -‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ - -‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ -Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 - -Mineral commodities used in mobile devices -Gallium (from bauxite), -Germanium (from sphalerite) -Graphite -Indium (from sphalerite) -Lithium (from amblygonite, petalite, lepidolite, spodumene) -Platinum -Potassium (from langbeinite, sylvite, and sylvinite) -Rare-earth elements (bastnäsite, loparite, monazite, xenotime) -Sand -Silicon (from quartz) -Silver (from argentite and tetrahedrite) -Tantalum (from columbite and tantalite) -Tin (from cassiterite) -Tungsten (from scheelite and wolframite) -Source: https://pubs.usgs.gov/gip/0167/gip167.pdf - -Chemical structure of the product of Sydvaranger mine, Kirkenes -Fe – 68% -SiO2 – 5.00 -Al2O3 – 0.30 -S – 0.08 -P – 0.01 -Mn – 0.05 -Na2O – 0.01 -K2O – 0.03 -CaO – 0.35 -MgO – 0.45 -H2O – 8.00 -Size of the product -over 0.15mm: less than 0.2% -0.053mm – 0.15mm: less than 20% -under 0.053mm: up to 80% - -Source: http://sydvarangergruve.no/produkt - - -‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ -Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. - -‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ - -‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ - - -‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ -Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 - -‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ -Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34. - -‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. - - -‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ - -‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. - -‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ - -‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ - -‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ - -‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ - -‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ -publication -title: Black Moon -catalogue number: DOB 096 -artist: John Duncan - -description: -Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days. The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience. By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener. The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process. -John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. - -In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara. He also made periodic broadcasts from his own home. - -The medium of radio still plays a role in arriving at compositions. The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. -event -title: ARCHIVING \ PUSHING SCORES -date:Thu 29 Nov 2018 20:00hrs -location: Varia, Rotterdam - -artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN - -description: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -WHO ??? -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. - -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - -- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethicsWe know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc. It is based in Rotterdam in the area were we operate. We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores. Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project. - -To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine. The UNI was developed by Niek Hilkmann and Joseph Knierzinger. It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered. It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project. His presentation was a cross-over between a lecture and a demonstration. On the spot, the audience could activate the UNI. -Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions. People who make black MIDIs are known as blackers. However, there are no specific criteria of what is considered "black"; as a result, finding an exact origin of black MIDI is impossible. - -DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production. This not only counts for publishing but also for exploring new possibilities for the art practise in general. -Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. -Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications. This one is pretty contemporary one and results in great imagery and sound. - -Origins and early history - -Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI. -Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” - -Popularity outside Japan - -The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes. They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI. -The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. -English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner. Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs. Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues. - -Analysis and reception[edit] - -The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." -Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge. It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes. Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and "splatter-chords" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location: SKAR office , Groot Handelsgebouw, Rotterdam - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA). The authority who controls copy right specifically for musicians. - -publication: -title: Spectral Arrows -catalogue number: DOB 065 -artist: Marco Fusinato -liverecordings by Gerben Kokmeijer -edited by Marco Fusinato - -description: -Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands - -Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. - -For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. - -Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event. As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies. - -Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. - -In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator -(How Could You) Bring Him Home by Eamon +This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far.(How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi @@ -5449,6 +1965,13 @@ Doing It Right by The Go! Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy +From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. + +He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. +His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. + +This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. +For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. title:ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL @@ -5459,21 +1982,21 @@ catalogue number: DOB 096 artist: Ana Guedes description event: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. participating artists: -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. +- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics -Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This ‘other way’ around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. +Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This 'other way' around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. -Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague. She works with sound, video, installation and performance. Her research focuses on the 'dialectic of tuning'. Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'. Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation. Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records. An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music. The records come from Angola, Portugal and Canada. -UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. +UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents. Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space. @@ -5485,37 +2008,36 @@ date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ? -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. +An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. +Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. artists: WHO ? -■ HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. +* HIELE MARTENS (be) +Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. http://kraak.net/festival2017/artist/hiele-martens -■ HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. +* HELGA JAKOBSON (ca) +Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. www.helgajakobson.com -■ JOHANNES BERGMARK (se) +* JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. http://bergmark.org -■ XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. +* XPUB (int'l) +Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part. Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER. We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented. Also the idea of a spider web as a score of course matched with the Pushing Scores project. Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label.Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral. Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement. This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter. She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs. Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors. She passes on the notation she distils from this to music companies in order to come to performances. about her work considering Arachnes Sonifier: -Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  +Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  -Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” +Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” -The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. +The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. -The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  +The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  type of project: publication title: ORE catalogue number: DOB 092 @@ -5523,30 +2045,30 @@ artist: BJ Nilsen description: -This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. +This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time. As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning. What is the relationship between the sounds of mining and the community that surrounds it? Where does mining stop? How much influence does it have on a community? Over the years he has built up an extensive sound archive around this subject. Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere. In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes. In the final processing of the sound, he uses the facets of mining as different sound tracks. The composition follows a more or less linear path - starting with 'deep' time. This line is interrupted a few times and the different time periods work together and overlap. It is a mix of sound recordings made at different times. Sometimes recordings from four years ago are combined with more recent recordings. Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future. For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies. The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that. Of course, it only becomes interesting when the resources on earth are exhausted. For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid. In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener. -There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. +There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned. Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies. He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts. His writings have also been influential in the scholarly area of sound studies and the practical area of sound art. His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999. Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance. He discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. -That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. +That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin BJ Nilsen -‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ +‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ -‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ +‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices @@ -5557,7 +2079,7 @@ Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) -Rare-earth elements (bastnäsite, loparite, monazite, xenotime) +Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) @@ -5567,57 +2089,57 @@ Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes -Fe – 68% -SiO2 – 5.00 -Al2O3 – 0.30 -S – 0.08 -P – 0.01 -Mn – 0.05 -Na2O – 0.01 -K2O – 0.03 -CaO – 0.35 -MgO – 0.45 -H2O – 8.00 +Fe – 68% +SiO2 – 5.00 +Al2O3 – 0.30 +S – 0.08 +P – 0.01 +Mn – 0.05 +Na2O – 0.01 +K2O – 0.03 +CaO – 0.35 +MgO – 0.45 +H2O – 8.00 Size of the product over 0.15mm: less than 0.2% -0.053mm – 0.15mm: less than 20% +0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt -‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ +‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. -‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ +‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ -‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ +‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ -‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ +‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 -‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ +‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34. -‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. +‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ +Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. -‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ +‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ -‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. +‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ +Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. -‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ +‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ -‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ +‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ -‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ +‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ -‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ +‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ -‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ +‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ publication title: Black Moon catalogue number: DOB 096 @@ -5625,7 +2147,7 @@ artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days. The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience. By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener. The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process. -John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. +John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara. He also made periodic broadcasts from his own home. @@ -5638,12 +2160,12 @@ location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? WHO ??? -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. +- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethicsWe know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc. It is based in Rotterdam in the area were we operate. We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores. Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project. @@ -5651,23 +2173,23 @@ To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions. People who make black MIDIs are known as blackers. However, there are no specific criteria of what is considered "black"; as a result, finding an exact origin of black MIDI is impossible. DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production. This not only counts for publishing but also for exploring new possibilities for the art practise in general. -Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. +Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications. This one is pretty contemporary one and results in great imagery and sound. Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI. -Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” +Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes. They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI. -The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. +The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner. Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs. Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues. Analysis and reception[edit] -The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." +The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge. It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes. Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and "splatter-chords" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano. event: title: MUSIC&CAPITALISM @@ -5692,84 +2214,115 @@ Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending gl Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. -For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. +For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event. As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies. -Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. +Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. -In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. +In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. - Thu 17 Mar 2016 19:00hrs +Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. +TUNING – DETUNING / NOTING – DENOTING +with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. + +Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. + Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. + - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam +Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs +@ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. + +For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam + +Fri 20 Jan 2017 20:00hrs +@DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - Fri 24 Mar 2017 20:00hrs +Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. + + +Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - Sun 15 Oct 2017 15:00hrs + +An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. + + +Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp + TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - Fri 12 Jan 2018 20:30hrs +Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. + + +Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM + + This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ + +Sat, 14 & Sun. 15 April 2018 +DE PLAYER presents ‘Greatest Hits’ + A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. +‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - Fri 22 Jun 2018 20:30hrs + +Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN +E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN + As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - Thu 29 Nov 2018 20:00hrs + +Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE +ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE + + On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? Experimental Jetset (nl) Davide Mosconi (it) + DUPAC (int) Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) + +Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) + Telcosystems (nl) Floris Vanhoof (be) -Rafaël Rozendaal (nl) + +Rafaël Rozendaal (nl) + Valentina Vuksic (ch) Ana Guedes (pt) + Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) -Jörg Piringer (at) +Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) -Aurélie Lierman (be) +Aurélie Lierman (be) + Max Franklin (au) Remco van Bladel (nl) + Johannes Bergmark (se) + Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) @@ -5777,6 +2330,7 @@ Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) + Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) @@ -5784,64 +2338,66 @@ Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) + Vos van der Noordt (nl) Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen +studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] + +studenten Artez Fine arts & Graphic Design, Arnhem +studenten Fontys Academie, Tilburg +Witte de With CCA, Rotterdam +Pinkie Bowtie, Antwerpen Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede + Paradiso, Amsterdam + WORM, Rotterdam + South Explorer, Rotterdam + Technische Universiteit van Enschede Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. +Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music. +It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. +Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. +Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. + +Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, +What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. +The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come. +Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 +creation date: 24/03/2017 +publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg +artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - +DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. +Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. Type of object: event title:Principium 2.0 -date: 2 Jyly 2017 +date: 2 July 2017 location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING +artist: Remörk, Kris Delacourt +type of object: event +title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel +artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. +Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. +* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. WHO??? YANN GOURDON (fr) @@ -5849,25 +2405,23 @@ Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory f http://ygourdon.net/ -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. +RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. http://www.slowempty.com/ -http://www.newrafael.com +http://www.newrafael.com FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. +Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ +http://www.bmbcon.demon.nl/justin/ -■ REMCO VAN BLADEL (nl) +REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. +He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. +We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense. As a composer, funnily enough, Charlemagne hardly uses any scores. Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. They are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 @@ -5887,7 +2441,7 @@ Vaast Colson we know already for quite a while as an interesting artist. Because -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. +Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. @@ -5899,103 +2453,103 @@ Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. +Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. -Author: Kris Delacourt, Remörk, DE PLAYER +Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. +We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. +Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. +What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. +There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… +For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at +This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  +>I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. +-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. +The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  +What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  +Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. +And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. +I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. +The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. +Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. +And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. +Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. +After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. >Is this LP the final version of this project, or do you see it even evolve into next stages? --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  +-Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  +>Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. +-Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  +But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. >Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. +-You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. +Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  +>Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. +-There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  +>Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. +-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  +>I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. +-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  +But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   +>You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  +-I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  +Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  +-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  +I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  +>The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. +-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. ->Do you see this as a drone record? Or as a collage record?  +>Do you see this as a drone record? Or as a collage record?  --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. +-If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. >Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event +-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. +Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. @@ -6005,32 +2559,32 @@ The record or musical piece in these cases is not used as a reproductive techniq The defective record and not the even, smooth reproduction means quality and concept at the same time. Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” +“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. +In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. +-With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com +“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” +Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. +-Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” +About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.netType of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel +artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. +Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. @@ -6042,18 +2596,18 @@ title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) +artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. +Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. WHO??? HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. +Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. +Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. www.helgajakobson.com JOHANNES BERGMARK (se) @@ -6061,7 +2615,7 @@ Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and http://bergmark.org XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. +Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart -Piet Zwart Institute > TGC #3 seminar + live event @@ -6073,14 +2627,14 @@ title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. +Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen +Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. @@ -6092,7 +2646,7 @@ artist: Remco van Bladel Description: WHAT ? 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: +'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. @@ -6109,11 +2663,11 @@ The work was installed for a period at The Small Museum; a cabinet on the facade 'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. +In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). +For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. @@ -6122,12 +2676,12 @@ As far as melody is concerned, humming was increasingly defined by the expansion One of the influences for our project Pushing Scores. -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. +Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. +He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. +After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. Attali believes that music has gone through four specific cultural stages in its history: 1. Sacrificing @@ -6137,13 +2691,13 @@ Attali believes that music has gone through four specific cultural stages in its The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. +The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. +He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: +Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. +music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. @@ -6158,25 +2712,25 @@ date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. +Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. +What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. +Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. +Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” +About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. http://macumbista.net -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. +Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. @@ -6184,7 +2738,7 @@ Over the past few years, a strong reaction against the sterile world of laptop s video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often +long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics. John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical composition that Serge had ever made", and it is precisely Cage's reformulation of the @@ -6224,7 +2778,7 @@ https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 -Photo credit: Anders Børup +Photo credit: Anders Børup Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. a theoretical/historical text about the concept written by Derek Holzer @@ -6236,20 +2790,20 @@ The Vectorian Era opens with a screaming across the sky. Analog electronic compu Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. +In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. +In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. +Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. +Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” +George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. +Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” +One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. @@ -6260,7 +2814,7 @@ Before music was established in writing, each choir leader led the Gregorian cha publication title: Each One catalogue number: DOB 089 -artist: Jörg Piringer +artist: Jörg Piringer description: 10" vinyl dubplate each one with original sound and related artwork @@ -6275,12 +2829,12 @@ Piringer has performed in DE PLAYER with his visual sound poetry pieces based on -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. +Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. +For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. +The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. +Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. URL: http://huellkurven.net https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. @@ -6292,7 +2846,7 @@ Multilingualism is important in giving meaning to the things around us. Publishi We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. +Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs @@ -6302,17 +2856,17 @@ artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. +Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. +Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. +Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. +Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." +Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum +He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: @@ -6320,29 +2874,29 @@ http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. +‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz +URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. +The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn. URL: https://www.deplayer.nl/releases/dob046-10-fersteinn -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. +The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. +He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. +His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. +Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. +Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. Before language there was the song. -Before the song there was the yodel.” +Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling. I think silence has that same trelations with music. emptiness has that same relation with notation. @@ -6373,17 +2927,7 @@ Johannes Kreidler is a special duck in the bite when it comes to composing. His Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator -(How Could You) Bring Him Home by Eamon +This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far.(How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi @@ -6533,6 +3077,16 @@ Doing It Right by The Go! Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy + +From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. + +He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. +His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. + +This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. +For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. + +Translated with www.DeepL.com/Translator title:ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL @@ -6543,21 +3097,21 @@ catalogue number: DOB 096 artist: Ana Guedes description event: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. participating artists: -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. +- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics -Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This ‘other way’ around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. +Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing. Her archival approach and its political and personal implication are the starting point of this work. Because she uses and record archive it finally almost turns out to be a DJ set. This 'other way' around to come to sound is an interesting phenomenon. Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score. -Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague. She works with sound, video, installation and performance. Her research focuses on the 'dialectic of tuning'. Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'. Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation. Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records. An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music. The records come from Angola, Portugal and Canada. -UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. +UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”. The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents. Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space. @@ -6569,37 +3123,36 @@ date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ? -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. +An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. +Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape. TGC #3 fits right in. Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students. Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below. artists: WHO ? -■ HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. +* HIELE MARTENS (be) +Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. http://kraak.net/festival2017/artist/hiele-martens -■ HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. +* HELGA JAKOBSON (ca) +Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. www.helgajakobson.com -■ JOHANNES BERGMARK (se) +* JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. http://bergmark.org -■ XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. +* XPUB (int'l) +Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part. Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER. We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented. Also the idea of a spider web as a score of course matched with the Pushing Scores project. Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label.Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral. Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement. This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter. She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs. Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors. She passes on the notation she distils from this to music companies in order to come to performances. about her work considering Arachnes Sonifier: -Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  +Knowledge sharing across traditions has often taken place through oral mythology. Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk. There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster. In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute. However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war. Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community. During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women. After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates. Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  -Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” +Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience. The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss. When the webs are harvested, my hand effects their original form. These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss. The intact web will not exist long in the world, and with my interference; even less so. This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web. These actions are complicated and tenuous, as most human relations with companion species are. The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; "This requires reading with our sense attuned to stories told in otherwise muted registers.” -The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. +The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination. These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them. They remind me of George Crumb’s circular compositions; minus the pen and paper. In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays. These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create. -The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  +The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada. To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them. The process of finding them could be likened to trying to make the invisible visible. In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology. They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.  type of project: publication title: ORE catalogue number: DOB 092 @@ -6607,30 +3160,30 @@ artist: BJ Nilsen description: -This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. +This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking. In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages. From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time. As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning. What is the relationship between the sounds of mining and the community that surrounds it? Where does mining stop? How much influence does it have on a community? Over the years he has built up an extensive sound archive around this subject. Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere. In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes. In the final processing of the sound, he uses the facets of mining as different sound tracks. The composition follows a more or less linear path - starting with 'deep' time. This line is interrupted a few times and the different time periods work together and overlap. It is a mix of sound recordings made at different times. Sometimes recordings from four years ago are combined with more recent recordings. Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future. For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies. The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that. Of course, it only becomes interesting when the resources on earth are exhausted. For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid. In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener. -There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. +There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore. The 'musique concrète' as developed by Henry at GRM was made by magnetic tape. Some of the recordings were finally mixed in the studios of GRM. Magnetic tape was the medium of BJ Nilsen's youth. He had hundreds of cassette tapes, like many at the time. It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore. Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned. Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies. He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts. His writings have also been influential in the scholarly area of sound studies and the practical area of sound art. His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999. Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance. He discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. -That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. +That evening Kahn did some kind of improv session on the works of the three invited artists. ‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman. URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin BJ Nilsen -‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ +‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future. For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working. When it was empty, I mapped out the building by recording it. You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in. I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old. The north of Norway is one of the oldest rock formations in the world. It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone. Those recordings symbolise the stasis of time. The mountain just sits there. The sounds are environmental. I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow. I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in. The Sámi have a lot of respect for nature. Throughout the landscape there are sacred stones that are very important to them. I also worked with stone as an instrument, striking and recording it. I did the same with coal. I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes. She still stores coal there in a small outhouse (called ‘kullbingen’). There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia. The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam. I also visited Most in the Czech Republic because there is a huge operational open pit mine. It’s not iron ore but lignite, ‘braunkohle’. It is vast scar in the landscape, and really an incredible place. The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area. I’m very interested in the hidden layers and history the landscape. That’s why I wanted to have a thread about the regeneration of mining areas. I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation. The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko. And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds. What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ -‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ +‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth. Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research. Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices @@ -6641,7 +3194,7 @@ Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) -Rare-earth elements (bastnäsite, loparite, monazite, xenotime) +Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) @@ -6651,57 +3204,57 @@ Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes -Fe – 68% -SiO2 – 5.00 -Al2O3 – 0.30 -S – 0.08 -P – 0.01 -Mn – 0.05 -Na2O – 0.01 -K2O – 0.03 -CaO – 0.35 -MgO – 0.45 -H2O – 8.00 +Fe – 68% +SiO2 – 5.00 +Al2O3 – 0.30 +S – 0.08 +P – 0.01 +Mn – 0.05 +Na2O – 0.01 +K2O – 0.03 +CaO – 0.35 +MgO – 0.45 +H2O – 8.00 Size of the product over 0.15mm: less than 0.2% -0.053mm – 0.15mm: less than 20% +0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt -‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ +‘In mining there are two types of waste. One is the waste you make to get to the ore. If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste. The ore layer contains only a certain amount of the mineral that will bring you revenue. The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process. It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly. Sometimes this can go horrible wrong. It is important for companies to manage this. More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. -‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ +‘The composition follows a more or less linear path – starting with deep time. It just turned out that way, perhaps because that’s how we generally tend to structure material. But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times. In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future. The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ -‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ +‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone. It’s absurd when you start to think about it. So much time is compressed in this material and it’s burned up in minutes. It’s not like wind or the sun, which give you immediate energy. It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal. This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ -‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ +‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 -‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ +‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed? At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34. -‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. +‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord. It is a base of hard rock under the water with different layers of material. It is a playground for sedimentologists because you can see how land and deltas form. We did a study and tried to identify how thick the layer was in different areas. We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken. When they were cleaning the old silos they flushed everything out into the slambanken. This was part of a test production of around 30.000 tons. We can see layers of hematite. It is not enough to make a mine plan, but enough to get a small cash flow. You have to take a boat to get there. We have a tunnel that leads there.’ +Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. -‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ +‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these. In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ -‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ -Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. +‘The sound of the mine was always present. It created a vacuum after it closed. When the mill was in full operation the only time when we woke up in the night was when the train was not going. We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ +Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. -‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ +‘I am drawn to the Arctic as a sound person because of its relative remoteness. The landscape is fairly untouched, it is scarsely populated, it’s desolate. The sounds of nature are not often interrupted by other sounds. Except for the mining, but that then is also why I find mining in the Arctic especially interesting. The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you. It’s good for the human psyche to be reminded of that. You can only survive there if you work with nature. If you work against it, it will kill you. The people in the Arctic have a lot of respect for nature, it forms them.’ -‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ +‘The Arctic is changing quickly. If it goes on like it goes now, the ice will open up and it will not be so desolate anymore. That is quite scary. Will it mean that other places will become desolate instead, uninhabitable? What shifts will we see? What shifts happened in the past? Why did people in the past settle in an environment like this? Were they forced up North by circumstances? These questions are really haunting me.’ -‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ +‘Far down in the Earth the rock is actually moving. Workers hear the rock talk, it crackles, it makes sounds, spits slivers. These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock. Listening underground is like reading the environment. Geologists read the stone, but they also listen to it. By physically interacting with the stone you can determine what material it is. Different types of stone give different frequency readings. Geologists use seismic soundings to map out the resources in the earth. They put geophones in an array, and record the blast of a detonation underground. It gives them an image, a bit similar to sonar. It’s mostly really low sounds that you have to transpose up three times to get within human hearing range. In practice it’s quite mathematical, but it still it is part of the sound world too. Through soundwaves geologists are able to map what is underground.’ -‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ +‘There is a little homage to GRM and Pierre Schaeffer on the record. For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape. I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece. Magnetic tape was the medium of my youth. I had hundreds of cassette tapes, mostly TDK. It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ -‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ +‘The iron ore is refined and filtered, making sure the pure magnetite comes out. Only a small percentage of the ore is iron, the rest is slag and waste. It is a process that somehow relates to my own artistic process. I’m always processing and refining my field recordings. I apply filters, use electronics. It’s a kind of sound alchemy. All to get to the desired result: the gold!’ publication title: Black Moon catalogue number: DOB 096 @@ -6709,7 +3262,7 @@ artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede. Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days. The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience. By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener. The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process. -John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. +John Duncan took part in our event at 5 October 2018. His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program. When we met we had discussions on several professional subjects and decided to realize a publication. The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording. This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static. Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP.John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television. He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo. Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists. He is currently a sound designer at the art academy of Bologna, Italy. Since the beginning of his work, he has made extensive use of recorded sound. His music consists mainly of recordings of shortwave radio, field recordings and voice. In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara. He also made periodic broadcasts from his own home. @@ -6722,12 +3275,12 @@ location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? +During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? WHO ??? -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. +- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. +- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records. - Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton. It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language. The actual printing of the thermal paper is a stochastic performance in itself. By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethicsWe know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc. It is based in Rotterdam in the area were we operate. We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores. Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project. @@ -6735,23 +3288,23 @@ To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions. People who make black MIDIs are known as blackers. However, there are no specific criteria of what is considered "black"; as a result, finding an exact origin of black MIDI is impossible. DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production. This not only counts for publishing but also for exploring new possibilities for the art practise in general. -Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. +Transformation of information is a fact that occurs during the process of composing and performing the compositions. In that sense there is never a perfect reproduction but always an interpretation. This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one. position. Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications. This one is pretty contemporary one and results in great imagery and sound. Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI. -Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” +Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of "U.N. Owen Was Her?", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil. It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years. In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands. They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++. The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes. They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI. -The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. +The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer. The end of the title of many Black MIDI videos displays how many notes are in the piece. The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as "Wrecking Ball" by Miley Cyrus. Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down. The two largest black MIDIs are "Armageddon v3" and "TheTrueEnd," both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion). Due to the nature of their creation and their sheer size, they are unable to be played back and recorded. English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner. Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs. Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues. Analysis and reception[edit] -The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." +The term "black MIDI" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music. According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of "bullet hell" shoot 'em up games, which involved "so many bullets at a time your eyes can't keep up."[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands. The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic]." Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge. It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes. Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and "splatter-chords" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano. event: title: MUSIC&CAPITALISM @@ -6776,11 +3329,11 @@ Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending gl Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. -For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. +For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air. We got in touch with Marco Fusinato through our 8-INCH series. For this we published 8 inch records with artists and labels. One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present. Julian unfortunately died at young age. Marco was primarily active as a visual artist. One of his projects is called Black Mass Implosion. In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective also his live performances can be considered as black mass implosions. Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism. He suggested to do an 8 hour performance in an official office building. On a Saturday from 09.00 to 17.00 hrs. When normally people are doing there office work now Marco played for 8 hrs in an empty office building. People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows. A huge PA was in the office blazing loud but very articulated. Good food and drinks were served. Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event. As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies. -Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. +Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion. -In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. +In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise. diff --git a/allhtml_proto.txt b/allhtml_proto.txt deleted file mode 100644 index d5158e8..0000000 --- a/allhtml_proto.txt +++ /dev/null @@ -1,42870 +0,0 @@ - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
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- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -

Type of object: Event

-Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - - - - - - - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -
-
- -

SUNDOWN VEHICLE EVENT by GEORGE BRECHT

-Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - - - - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -Type of object: Event -Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - - -SUNDOWN VEHICLE EVENT by GEORGE BRECHT -Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -Type of object: Event -Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - - -SUNDOWN VEHICLE EVENT by GEORGE BRECHT -Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on -a desire to update this form of music and sound notation for the 21^st -century. Starting from the motto ‘from Cage to JODI and beyond’ and -from the avant-garde music and sound art of the 20^th century, the -project researches new audio-visual languages, media and functions of -graphic notation in a contemporary context characterised by a -fundamental transformation of sound culture and visual culture. A -number of specific themes will be initiated, developed and presented -in the context of a public research programme in collaboration with -artists, designers and various cultural organisations such as the Piet -Zwart Institute, the Witte de With Center for Contemporary Art, and -Sonic Acts./ - -/What are the possibilities of graphic scores, in a day and age in -which graphic notation is still usually seen as a ‘drawing’ serving as -some kind of sheet music? In an attempt to redefine this concept, we -will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The -collective goal is to develop and present new audio-visual and -media-technical forms of graphic notation through artistic research -and development. Based on our compilation of the most contemporary and -innovative graphic notation practices in the fields of music, sound -art, performance art, e-culture, new-media art, graphic design and -media design, we will introduce artists and designers from various -creative disciplines to a national and international audience, with -the goal of collectively developing new forms of graphic notation./ - -/The incentive for this project is the belief that graphic notation in -20^th -century avant-garde music and sound art constitutes an -important, still radically innovative but wrongfully marginalised -form, which can play a key role in the development of new audio-visual -languages and media. Our ambition, and that of our collaborating -partners, is to emancipate graphic notation from the confines of the -modernist tradition, in such a way that it may remain an innovative -and provocative medium for decades to come./ -Type of object: event -Project:Tetra Gamma Circulaire For Art Rotterdam -Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk. -Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt -URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam -Creation date: 06/02/2015 -Media: TGC1club-web-06 februari 2015-02.jpg -Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, -Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, -06. release principium2.0 - -DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces - -Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 - -Creation date: 24/03/2017 - - - -Type of object: event -Project:Principium 2.0 At Stadslimiet Antwerp -Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. -Author: Remörk, Kris Delacourt, DE PLAYER -URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp -Creation date: 02/07/2017 -Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg -Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk -Related entries: 01. Event Tetra Gamma Circulaire 1, 06. release principium2.0 -Type of object: Event -Project: -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. -Author: Vaast Colson, De Player -URL:https://www.deplayer.nl/releases/dob079 -Creation date: 09/09/2016 -Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg -Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair -Related entries: - -Vaast Colson….beschrijving - - -zie ook Principium 2.0 release Kris Delacourt - -George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, -as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member -of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group -from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most -famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - - -SUNDOWN VEHICLE EVENT by GEORGE BRECHT -Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 " by 4.5. card. One of many similar kinds of instructions that were given to participants. -Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's "Vehicle Sundown Event". -Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963. - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and GB mailed instruction cards to me. I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent. For his "Vehicle Sundown Event", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated. I believe it was before I went to Washington as NCE editor, rv0 - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator - Thu 17 Mar 2016 19:00hrs -@Witte de With, Rotterdam -TUNING – DETUNING / NOTING – DENOTING -with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O. -Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. -Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ - Graphic Design. - - Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs -@ART Rotterdam / Van Nelle Fabriek, Rotterdam -PU-SHI-NG-SCO-RES AT ART ROTTERDAM -For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - Fri 20 Jan 2017 20:00hrs -@DE PLAYER, Rotterdam -PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - - Fri 24 Mar 2017 20:00hrs -@DE PLAYER, Rotterdam -TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB -An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - Sun 15 Oct 2017 15:00hrs -@Pinkie Bowtie, Antwerp -TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION -Tetra Gamma Circulaire #3 is travelling now as an open floppy platform. First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection. By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing. For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project. So far Evelin Brosi. AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there. The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté. - - Fri 12 Jan 2018 20:30hrs -@Paradiso, Amsterdam -PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM -This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam. 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w. Remco van Bladel about the current state and potential of the concept of 'graphical score'. The voice for this work is by Laetitia Saedier of Stereolab. - - Sat, 14 & Sun. 15 April 2018 DE PLAYER presents ‘Greatest Hits’ -A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan -Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven -‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt. His best ones. Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation. Just so you can see them day and night, for about three weeks long. The complete selection of scores is published in a music book. The entire music book will be performed three times during the South Explorer weekend. For every performance a different instrument has been selected. - - Fri 22 Jun 2018 20:30hrs -@DE PLAYER, Rotterdam -E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN -As you know, there are those evenings after which the sun rises differently. The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance. In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of "energy" in the bigger narrative of ecology and other sensitivities. Coming from different biotopes, our other guests will all have different points of departure for their performances. - - Thu 29 Nov 2018 20:00hrs -@VARIA, Rotterdam -ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE -On this evening we focus on archiving our Pushing the Score project. This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years. -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? -Experimental Jetset (nl) -Davide Mosconi (it) -DUPAC (int) -Studio Moniker (nl) -Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) -Telcosystems (nl) -Floris Vanhoof (be) -Rafaël Rozendaal (nl) -Valentina Vuksic (ch) -Ana Guedes (pt) -Helga Jakobson (can) -Niek Hilkmann (nl) -Varia (nl) -John Duncan (us) -Johannes Kreidler (de) -Jörg Piringer (at) -BJ Nilsen (se) -Douglas Kahn (us) -Aurélie Lierman (be) -Max Franklin (au) -Remco van Bladel (nl) -Johannes Bergmark (se) -Hiele Martens (be) -Vaast Colson (be) -Peter Fengler (nl) -Florian Cramer (de/nl) -Julia Buennagel (de) -Derek Holzer (us) -JODI (nl) -Anne-Mie Van Kerckhoven (be) -Evelin Brosi (be) -Yann Goudron (fr) -Charlemagne Palestine (be) -Matthieu Reijnoudt (nl) -Willem de Haan (nl) -Rowan van As (nl) -Vos van der Noordt (nl) -Julia Reinhold (nl) -studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] -studenten Artez Fine arts & Graphic Design, Arnhem -studenten Fontys Academie, Tilburg -Witte de With CCA, Rotterdam -Pinkie Bowtie, Antwerpen -Art Rotterdam -Paradiso, Amsterdam -WORM, Rotterdam -South Explorer, Rotterdam -Technische Universiteit van Enschede -Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel. -Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music. It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field. -Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air. Later on this developed into the type of musical notation we are familiar with in Western music. In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music. This continues to question the representation of sound in media; so what is the current state of the graphic score? -Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential. It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance. The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops. - -Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century. Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture. A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, -theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media. Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces. -TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. -TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations. Some dare say it's a kind of jukebox. -Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine. - -URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 -Creation date: 24/03/2017 -publication: -title:Tetra Gamma Circulaire #3 -catalogue number: DOB 084 -artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg -Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine] -DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students. We proposed them to make a publication in our Tetra Gamma Circulaire. This is a magazine without any format and meant to be developed each time. We worked around the idea of Pushing Scores. each student had to develop its own project around the proces of making a score. All these scores had to come together in one magazine/object. The restriction was made that the scores had to be presented on floppy disc. This was to limit possibilities and also to unite the format. The result is a mix of several media. All comes together in a designed concrete object. “feed Flintstone meets 21st century”. A Raspberry Pi is the core which is programmed for several applications. Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light. - - - - - -Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp. The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0. During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt. - -Type of object: event -title:Principium 2.0 -date: 2 Jyly 2017 -location: Stadslimiet Antwerp -artist: Remörk, Kris Delacourt -Type of object: event -title: TUNING – DETUNING / NOTING – DENOTING -date: 17 March 2017 -location: Witte de With CCA, Rotterdam - -artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel - -Description: Can a tune be translated into an image? Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture? The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies. The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel. Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design. - -WHY??? -* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam. - -WHO??? -YANN GOURDON (fr) -Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium. He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment. Every aspect of his work deals with quality of sound. It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process. - -http://ygourdon.net/ - -RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas. These works deal with continuïty and an endless accessibility. Visual and audio intensified perceptions in a specific space. His websites attract a large audience of over 40 million unique visits per year. His artistic practice consists of websites, installations, lenticulars, lectures and haiku. -http://www.slowempty.com/ -http://www.newrafael.com - -FLORIS VANHOOF (be) -Filmmaker & musician from Belgium. Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad. For this event he will work with filmscreening and synthesizer which he influences with his brainwaves. -http://endlesswebsite.blogspot.nl/ - -JUSTIN BENNETT (uk) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image. -http://www.bmbcon.demon.nl/justin/ - -■ REMCO VAN BLADEL (nl) -Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris. He is also an art book publisher ('Onomatopee', 'WdW Review'). His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites. -He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad. -http://www.remcovanbladel.nl/ -We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event. I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense. As a composer funny enough Charlemagne hardly uses any scores. Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores. It are cheap dummy books on which he poured ink in several colors. The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn. These books were the starting point of curating the event which we fitted in our Pushing Scores project. Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall. Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event. Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam. -Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it. - - -Type of object: Publication -catalogue number: DOB 079 -date: 09/09/2016 - -Project title:"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier' - -artist: Vaast Colson - -Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named "Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine" by Vaast Colson. Produced on a 'prepared copier'. The copy machine is amplified by several internal microphones by which the sound of every run is recorded. Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it. The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine. - -URL:https://www.deplayer.nl/releases/dob079 - - - -Vaast Colson we know already for quite a while as an interesting artist. Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output. This can be a performance , object, book or whatever. We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him. He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image. This printing run is to be seen as the performative action. It is a complex work as well as that it is simple in its final execution. - - - - -Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’. These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them. Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change? From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas. He opens up the artistic field and explores what is happening in the art world. Everything he undertakes can thus be considered as artistic intervention. - -In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances. The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work. - -In addition, Colson explores the commercial side of the art world and the economic consequences of artistry. His works, which are regularly made in situ, are often difficult to sell. The commercial potential and the associated value assessment are problematic for Colson. The making of editions can be understood in this context. - - - -Type of object: release -title: PRINCIPIUM 2.0 -catalog number: DOB073 - -Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor. the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns. The final installation will have all 12 separate pieces, a complete octave. This piece is based on a question. Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots. Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns. Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new. All 12 records together form the complete set which 1 'game' needs. Join the community. - -Author: Kris Delacourt, Remörk, DE PLAYER - -URL: https://www.deplayer.nl/releases/principium-20 -We first got in touch with Principium 1.0. Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium. We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it. Meaning a record. He was ok with it but i took a long time. Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0. This was quite a proces but ended up in a beautiful limited edition of 12 pieces. Developed and designed in good cooperation between Kris and the team of DE PLAYER. It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015. -Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after. - -Principium comes from the title of a project by Vaast Colson. Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold. Office material; those colourful little dots. -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. All pretty nonsensical in a way but really beautiful in its result, and quite fragile. Abstract poetry. - -Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score. - -There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1. A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer. The first version was a modified Casio keyboard. He reduced the number of keys to twelve, and added a magnetic sequencer board to it. The idea is to put white magnets on top of the coloured dots to kind of blank them out. The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. - -For Principium 2 the DOB073 piece is another step in the principle of Pricipoium. As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… - -http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html - - -This is an interview on Kris delacourt (Remörk) his practices and the Principium story. The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at - ->I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago. Short version: first it was a one octave Casio keyboard, then it became 12 10" records, then it became an 8 hour performance and eventually now a 12" LP. This is the short version, can you give me the full story?  - --Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks. At least that’s where the initial form and the name came from. - -The works are by a friend of mine, the Belgian artist Vaast Colson. He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold. Office material really, those colourful little dots.  -What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them. Line segments he reassembled into new shapes and new lines. It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile. Don’t know, it just rang poetic to me. - -Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not. And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’. So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result. The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way. -And the first version was indeed a modified Casio keyboard. I reduced the number of keys to twelve, and added a magnetic sequencer board to it. It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour. I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys. -I was really happy with the results, and especially with the fact that it’s so inviting towards an audience. It looks like a game of four-in-a-row, totally appealing to get your hands on it. And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  - -The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version. And I really like it when people are enthusiastic, so I said yes, obviously. But there were several reasons for me to hold back a little on the idea. Well, a little, two years, actually. First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on. It’s meant to be in a continued state of flux. The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid. Now Peter is really nice guy, and clever at that, and I guess he understood my doubts. So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl. For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that. Really great stuff. And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’. Just recording the Casio would definitely have been one of the safer, more boring options. I just felt like making another interpretation of an existing piece, instead of merely documenting it. - -Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo. Well, pattern programmable, but at a fixed speed. So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to. -And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all. I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes. I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting. If we just used test tones, so to speak, you end up with something close to morse code. Also nice, but not really musical. And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically. That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record. So the C note runs for 10 minutes, the B note is something like 5 minutes 20. Which also makes for much more interesting overlaps when played together. I guess I do tend to overthink things, hah. Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers. And an honourable mention to Koos of DOB who did an amazing job on designing the packaging. - -Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation. Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each. And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions. Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume. The only thing I had any control over was where to put the magnets, determining the rhythm. And since all the records have different lengths, it ended up being one long shifting overlapping piece. I followed that score for 8 hours straight. Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty. End of piece. That was an amazing moment. - -After that, Dennis asked me if I wanted to do a release of the recordings. I think initially he wanted to do a tape. So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance. I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead. So that’s what happened. - ->Is this LP the final version of this project, or do you see it even evolve into next stages? - --Oh, I think it’s definitely something that’s still evolving. I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive. There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.. I don’t think I’ve quite finished with it, no.  - ->Dennis said you were not really keen on doing this record at first. Why so? What was the problem? Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?  - --Not really, at least not in this case. I guess that fear was much more of an issue with DOB records. Recording the Casio felt too definitive at the time.  -But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event. Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final. I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there. I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality. I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record. - ->Bringing an 8 hour performance back to an album format seems like a hell of a job. How do you do that? How do you decide which parts 'work' on an album, and which don't? - --You do it in short sessions, hah. The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes. That’s quite brutal to listen to in concentration, to be honest. It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others. Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc. So you end up with a first rough selection. And then you go through that selection again. And so on, until you really narrow it down. -Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together. But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier. If something was interesting for a while, but didn’t stay interesting, it had to go. I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut. - ->Do you think that, by bringing it back to an LP, you're making it easier for the listener? Were there people who actually listened to the whole 8 hour performance? Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  - --There were some people there that sat through the whole thing, yes. But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this. And that was never the question either. It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked. But it was pretty intense, so yes, this record is probably the light version. Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own. - ->Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  - --I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point. I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something. The improv might be one of the major flaws, actually, conceptually speaking. But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets. I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed. - ->I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product. What you think about this statement? How do you look at the function a piece of vinyl can have?  - --The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  -But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece. That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance. It really was a one time event, with the vinyls as a tool, yes. Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that. But it’s still a relevant idea to me, this kind of creative misuse. - ->You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too. So do you see this album as a solo record or as a collaboration?   - --I do look at it as a solo thing. You know, the music on the record came from a performance I did, based on a concept I came up with. Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people. But Vaast for instance refuses to regard it as his doing. He always stressed, right from the start, that any interpretation I gave of his work was no longer his work. And I follow that. They’re just new pieces in their own right.  -Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting. That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no? We worked on the packaging together, and it looks amazing because of them. But musically, I still feel it’s my work. And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking. But now with this thing it just seemed to fall into place perfectly.  - ->When Joseph Beuys was asked why he hated the term 'conceptual art', he said: "Because a concept, an idea is a starting point, not a final form. If you stick to the concept, you miss out on the creative aspect, which should be the most important part. Otherwise you're not an artist. Art is not pinning things down. Art is letting things go, let it flow". Does this sound recognisable to you? And how would you relate this quote to your LP? - --Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no? The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  -I for myself am always glad if I manage to turn an idea into a physical form. Did I mention I tend to overthink things? So I don’t think I belong in the conceptual art section. But then, I don’t fully agree that you miss out on creativity by sticking to a concept. Coming up with a concept can be as much a creative process. And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself. It can make you go against your natural inclinations, which does not always have to be a bad thing. It can free you from repeating yourself, from your own mannerisms. That’s just another way of letting things go, of giving up control.  - ->The Ultra Eczema site refers to this record as your debut LP. Does it feel like that for you too: as your first 'real' album, as a statement?  - --I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count? Or maybe Dennis thinks of that series as a tool more than a product. Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying. And a statement.. I don’t know. I don’t think of it as a manifesto or anything. It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well. - ->Do you see this as a drone record? Or as a collage record?  - --If you force me to choose between those two, then drone. I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.. I don’t feel this record has that. Quite the contrary. The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off. But they were live events, not editing choices made afterwards. So this is very much a straightforward live recording of a pretty weird DJ set, if you will. And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly. So more drone, definitely. - ->Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it? Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept? - --I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all. But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right. aiming for the best of both worlds there. Type of object: event -title: Pu-shi-ng-Sco-res -date: 20 January 2017 -location: DE PLAYER - -artists: Telcosystems, Julia Buennagel, Derek Holzer - -Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems. They approach DE PLAYER for some input in the production and distribution of it. because of the direct relation of sound and image and the new interface an object like that represents it was a clear match. They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production. -To complete the event we searched for 2 completely different angles on composing. Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible. He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music. Julia Buennagel was invited to do a more physical input. She works with prepared records and played a live set. - -about prepared records: -The record or musical piece in these cases is not used as a reproductive technique. In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques. The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself. -The defective record and not the even, smooth reproduction means quality and concept at the same time. - -Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: -“The abuse and misunderstanding are nessecary to gain result. It is nessecary for evolution and survival. After every new recording the functioning apparatus is pushed ahead to further new impressions. That is one of the reasons for the necessity to always continue experiments in New Plasticism. From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships. In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity. As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” - -In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay. All had lifted the medium (the vinyl record) over themselves and added a new use / application. Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated. The code of the usual record as defined by the music industry was broken in all works. -Later the exhibition traveled to the Hague and to Grenoble in the early 1990s. The book which came along with the exhibition has recently been republished. As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989. - --With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -“Resonanz is an electronic book that I had first dismissed. Until i tried it. As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack. It’s strangely hypnotizing. I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” -Régine Debatty we-make-money-not-art.com - -URL:https://telcosystems.net/product/resonanz/ - --Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - --Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards3. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netType of object: event -title:Pushing Scores -date: 20 January 2019 -location:ART Rotterdam, Rotterdam, NL - -artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel - -Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems. -As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer. - - -For a certain period we yearly took part in the ART Rotterdam. An annual art fair in which commercial galleries as well as initiatives take part. The Intersection part is where the initiatives gather. It works because of getting in contact with an audience which will never come by at DE PLAYER itself. For this year it was clear that we present the Pushing Score project. We decided to set up a framework as if it was a three dimensional staff to write down music. In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object. -People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker). - -event -title: MAT>NET>PU - PZI_XPUB TGC3 presentation -date: 24 March 2017 -location: DE PLAYER - -artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) - -Description: An evening with remarkable experiments and materialised conceptual flip flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB. - - -WHO??? -HIELE MARTENS (be) -Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s "Exotica", but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year. -http://kraak.net/festival2017/artist/hiele-martens - -HELGA JAKOBSON (ca) -Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it’s use as a technology. At DE PLAYER she will demonstrate her 'spider web record player'. -www.helgajakobson.com - -JOHANNES BERGMARK (se) -Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling. -http://bergmark.org - -XPUB (int'l) -Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme. The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg. -https://xpub.pzimediadesign.nl -www.facebook.com/xpub.pietzwart --Piet Zwart Institute > TGC #3 seminar + live event -Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from a floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the work process. It resulted in the Tetra Gamma Circular #3 subtitled "an unknown audio magazine" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies. It is an experimental platform designed for sonic experiments, instruments and installations. Concretely, a designed concrete object in which various techniques are incorporated. Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized. The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer. Via beamer and audio system everything becomes visible and audible. Most projects are aimed at interaction with an audience (one or more people). - -Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps. -Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer. Both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpartner for his own musical input. -title event: ARCHIVING \ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN -date: Thu 29 Nov 2018 20:00hrs -Location: Varia, Rotterdam - -During this evening we focus on the archiving of our Pushing Scores project. A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years. What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music? - -To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project. The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores. Varia will explain their ideas and approach on this matter. - -- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups. The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world. -Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017. She played a set in which she used her computer to generate sound by live programming. It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores. Her score was made on the spot with programming language. A sort of live coding. The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art. In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects. -Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen -Valentina Vuksic is a computer artist and programmer based in Zürich. Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation. She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters." With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers. - -Vuksic considers time and space of computer processor and memory as levels of reality. Software being processed creates own temporal and spatial dimensions, which are staged for a public. She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world. The mechanic noises serve as mediators to a public. They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on. - -https://harddisko.chevent title: Para-phonic Poly-diso -dat: Fri 12 Jan 2018 20:30hrs -location:The Small Museum, Paradiso, Amsterdam -artist: Remco van Bladel - -Description: WHAT ? -'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone. The voice for this work is by Laetitia Saedier of Stereolab. - -'Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: -1) An interactive graphic score / light box / kinetic work fixed inside the cabinet. (see jpeg drafts below) -2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece. - -In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la. Later the seventh tone 'si' was added. From this the well-known "Do-Re-Mi" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself. - -The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic "Pa-Ra-Di-So". An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter. - - - -Paradiso invited Remco van Bladel to take part in their Small Museum project. For him it fitted very well to use this public place for a project he had in mind for Pushing Scores. The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso. - -The work: -The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam. - -'Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir. - -In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la. A 7th note, 'si' or 'ti', was added later. This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music. - -The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'. A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter. - -For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble). - -On Notation: -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. - -As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges. In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use). In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note. This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe. - -One of the influences for our project Pushing Scores. - -Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - - -After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores. This particularly because of the fact that he focusses on the reproduction of music. - -Attali believes that music has gone through four specific cultural stages in its history: -1. Sacrificing -2. Representing -3. Repeating -4. Post-Repeating - -The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object. It refers to the era of printed music (1500 - 1900). During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market. This notation of music can be considered as a highly coded written guideline for how music should sound. He calls this chapter Represent because it is the project of the executive. This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine. With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of "sound", the relationship between sound and its visual representation is also being re-examined. - -The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985. In that time it would have been quite prophetic. Because of this ambiguity we are interested for the project what this stage of music could represent. What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction.Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993. - -He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores. - -Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image.event: -the entire Pushing Scores project was set up in cooperation with Remco van Bladel. The conceptualization, the funding, the execution.We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary -music. It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score. WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer. This brought us together and made Pushing Scores to be real.Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam. His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites. Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem. He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale. For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion. -His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music). The studio takes care of the graphic design of the art magazine and website Metropolis M. - -Remco van Bladel grew up as a kid in the recordstore of his father. The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice. Especially the strategy and concepts he creates for graphic design. - -In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary -music. In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies. For instance by understanding the phase shifting technique from inside Steve Reich to design. But also work from Stockhausen, and Cage to view and differ and looking for similarities. Rhythm, shifts, pairs, tonality, counterpoints. This was not about hard comparisons and 1 on 1 projections, but more -to interpret, think and work with elements. An investigation into methodologies within his own artistic practice. - -From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography. His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent. The most important, from his youth, is sound or music. Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice. He sees it as punk, experiment, noise, investigative, critical. Searching for dissonance and ordering of information, for rhythm and tonality. Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form. The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems. This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice. -event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER -date:Fri 20 Jan 2017 20:00hrs -location: DE PLAYER, Rotterdam, NL - -description: WHY ? -Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us). Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records. - -What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music? In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate. The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development. Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation. - -participating artists: WHO ? -Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one. Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones. This evening Resonanz will be the starting point of Q&A, demonstration and live presentation. In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. - -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne. Working with sound performance and art installation. She is part of the sound-art-collective Sculptress of Sound. Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds. Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats. - -Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. -For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope. -The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable. -About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” -http://macumbista.netWe got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures. -This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project. He came up with a reading on Schematics as a Score, because that was a current issue of his practice. It fully fitted in our search for how to see the concept of composing and making scores.Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms. He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand. - -http://macumbista.net - -Derek Holzer gave a lecture with the theme "Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology". In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process. By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal. These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers. The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence. Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance. But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance. - -The past few years there has been a strong response to the sterile world of sound and video from the laptop. This has led to a new interest in analogue processes or dirty hands art. With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies. Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded. - -Over the past few years, a strong reaction against the sterile world of laptop sound and -video has inspired a new interest in analog processes, or "hands dirty" art in the words of practitioner John Richards. With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. -Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge -Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments -long before similar tools became commercially available or freely downloadable4– often -through a long, rigorous process of self-education in electronics. -John Cage once quipped that Serge Tcherepnin's synthesizer system was "the best musical -composition that Serge had ever made", and it is precisely Cage's reformulation of the -concert score from a list of deterministic note values to a set of indeterministic -possibilities that allowed the blurring of lines between instrument-builder and music -composer that followed. - -In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19.Vector Synthesis Workshop Piksel - -Derek Holzer, Vector Synthesis workshop -Building: Piksel Studio 207, Bergen NO -Dates: 9-11 March 2018 -Time: tba - -All workshops are free entrance. To sign up send an email to: -prod(at)piksel(dot)no - -VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image. It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies. Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image. - -You can see several demo videos here: - -http://macumbista.net/?page_id=5000 - -SOFTWARE - -The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment. - -https://github.com/macumbista/vectorsynthesis - -During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light. You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop. - -LINKS - -http://macumbista.net/?page_id=4869 - -https://www.instagram.com/macumbista/ - -More info at: http://17.piksel.no/?p=72 - -Photo credit: Anders Børup -Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017. He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope. - -a theoretical/historical text about the concept written by Derek Holzer -23 NOV 2016, Helsinki, Finland - - THE VECTORIAN ERA: an Investigation into Analog Computer Graphics - -The Vectorian Era opens with a screaming across the sky. Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these. - -Post-war developments continued in this direction. Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display. It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game. The laboratory itself performed government research into nuclear physics, energy technology, and national security. - -In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”. Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude. This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin. - -In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists. And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture. Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work. The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects. - -Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided. Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979. Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade. As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place. - -Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic. Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light. - - -George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” -Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all). -Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances. After performing in one such piece, Cage quipped that he'd "never felt so controlled before." prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed.The Event Scores of George Brecht are still actual pieces. He is inspiring for a lot of performance based composers. Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact. Also interesting is the fact that it is purely language based lays in our interest. DE PLAYER has been publishing and presenting a lot of sound poetry.George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil. He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978. - -One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art. He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” - -Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). We became friends and he mailed instruction cards to me. I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963. George Brecht agreed to provide instructions for an event at St. Vincent. For his "Vehicle Sundown Event", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles. Each card held an instruction to be performed with a vehicle. Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles. Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal. Participants performed about 50 events such as "turn on lights", "start engine", "stop engine", "open window". This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 -A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. - -https://en.wikipedia.org/wiki/Baton_(conducting)This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it. It is the first intermediary after the score itself and comes from a method of conducting called cheironmy. - -Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements. This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength. These signs or neumens were written down, modified or not, first without any reference line. Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor. -publication -title: Each One -catalogue number: DOB 089 -artist: Jörg Piringer - -description: -10" vinyl dubplate each one with original sound and related artwork -edition 40 pieces - - - - - - -Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming. For Pushing the Score we invited him to make special work for a limited edition. For this he developed specific software that generates poetry in spoken word form. For each record a unique piece is generated that is spoken and performed by the same software. The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record. - - - -Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science. He is also involved in the online poetry platform Huelkorven. The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language. - -For example his work ‘frakativ’; an electronic visual sound poetry performance. ‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together. -The performance ‘frikativ’ is real-time generated visual and sound poetry. Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions. - -Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc. - -URL: http://huellkurven.net -https://monoskop.org/Concrete_poetryDE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language. In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music. The cultural identity is communicated with this. Music and dance are good elements to be together without literally understanding each other word for word. Subcultures form through music. In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament. The style / genre determines the identity. New generations are born. - -It is important here that the language is sung off the usual value of speech. The limits of speech become communication and nonsense, which both have the potential of speech. Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place. -The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle. How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past. - -Multilingualism is important in giving meaning to the things around us. Publishing, as mentioned above, is important to communicate various ways of expression. Signification also plays a major role in this. Within "Radical Listening" we want to see what the possibilities are of communication and publishing with the current means that are available to us. This idea is closely intertwined with the project "Pushing the Score", in which the materialization of sound plays a role. Listening in the sense of "Radical Listening" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible. - -We investigate how contemporary means are used to shape language, sign and sound. The analogue and virtual voice play a major role in this. Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded. - -Inspiration is the vocal poetry, poésie sonore and text-sound composition. In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts. Here it has played an important role and as such it is still current. The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings. -event -title: IRREGULAR # 2313 STRIPPED -date:Fri 14 Oct 2011 21:00hrs -location: Wall Gallery, Rotterdam, NL - -artist: Fersteinn - -Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space. They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to. Good practise for the ears. - -Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson. The music focuses on elastic rhythms, that are not easily confined to a grid. The musicians read the music from a score, but the score consists of moving images on a computer screen. This is done in order to communicate rhythms not easily notated. The music mostly consists of hockets where each sound is like one letter in a word. With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed. Some parts of the music might resemble animal sounds or the rhythm of animal movements. - -To quote the composer: "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."Fersteinn works with the method of so called Animation. This means animated notation. They had been performing before we started the Pushing Scores project. Nevertheless we claim it to be part of it.FERSTEINN (is) -Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble. Fersteinn usually performs in the quietest of settings. They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak). They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it. - -Fersteinn plays from animations made as compositions on a laptop. Most compositions are made by Guðmundur Steinn Gunnarsson. -Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music. - -Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." - -He is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum - - -website by RYAN ROSS SMITH all about animated notation: -http://animatednotation.com/Steinn.html - -see also: stefan-smulovitz -https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/ -‘Anitation’is the term for animated notation. Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained." This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn. -Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times. This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer. It results in real delicate and unconventional chamber music. - -URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz - -The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation. He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces. Amongst which some of Gudmundur Steinn. - -https://vimeo.com/151283154 - -We also produced a limited poly urethan record with Fersteinn. -URL: https://www.deplayer.nl/releases/dob046-10-fersteinn - -The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores.Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms. It inhabits a world where grids or straight lines are almost non-existent. This often requires presenting the music as moving graphics on computer screens. That way the most irregular things can become very intelligible. - -He has been active with a composer collective in Iceland called S.L.Á.T.U.R. and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble. He runs his own multi-instrumentalist quartet which is called Fersteinn. - -His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir. - -Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker. - -Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt. His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson.Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation. But how can we score something not present, yet also not absent? Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score? The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages. In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?“Before god needed to be invented there were man. -Before language there was the song. -Before the song there was the yodel.” -As bart plantenga stated in his reading on yodeling. -I think silence has that same trelations with music. -emptiness has that same relation with notation. -event: -title: MUSIC&CAPITALISM -date:Sat 18 May 2013 09.00 hrs - 24.00 hrs -location:SKAR office, Groot Handelsgebouw, Rotterdam | - -artists: MARCO FUSINATO & JOHANNES KREIDLER - -description: -A reading in combination with a 6 hrs concert by Marco Fusinato. -DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes. Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond. Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA). The authority who controls copy right specifically for musicians. - - - -publication: -Project name: DOB 060 -Description : Product Placements - 10" blue vinyl with poster and xerox copies - edition of 150 pieces -Author: Johannes Kreidler - -URL: -http://www.kreidler-net.de -http://www.kreidler-net.de/productplacements-e.html - - -Johannes Kreidler is a special duck in the bite when it comes to composing. His works can often be regarded as composition, performance, sculpture and indictment. His work is described as conceptual music. He usually uses multimedia elements. He approaches the themes he uses (including authorship) through various entities directly linked to society. By acting consistently within these structures he creates his works. A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this. -Johannes Kreidler is a composer, concept- and media artist. His way of composing has a multimedia conceptual approach which is mostly linked with processes in society. This makes it interesting in the perspective of experimentation and onorthodox composing. The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions. We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism. - -We produced with him a record which contains one piece of him named Product Placements -This piece is to be seen as a plunder phonic composition in extremis. A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music. In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA. For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before. The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far. -From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague. He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg. - -He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama. -His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread. In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra). Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin. A few cubic metres of printed matter were placed in the reception hall of the GEMA office. The system was therefore completely stuck. The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality. The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies. If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use. - -This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches. Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq. In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself. -For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin. For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India. According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship. - -Translated with www.DeepL.com/Translator diff --git a/generate_links.py b/generate_links.py index 5da601c..ee86ca7 100644 --- a/generate_links.py +++ b/generate_links.py @@ -2,7 +2,7 @@ import sys, os import json import re -with open('wordlist.json', 'r', encoding='utf-8') as f: +with open('wordlist.json', 'r') as f: wordlist_dict = json.load(f) path = "static/files/" @@ -10,10 +10,10 @@ for path, subdirs, files in os.walk(path): for name in files: if name.endswith('html'): file = os.path.join(path, name) - with open(file, 'r+', encoding='ISO-8859-1') as f: + with open(file, 'r+') as f: textfile = f.read() for word in wordlist_dict: - word = re.escape(word) + # word = re.escape(word) textfile = re.sub(r"(?\1", textfile) f.truncate(0) f.write(textfile) diff --git a/linelist.py b/linelist.py deleted file mode 100644 index 57e5cb2..0000000 --- a/linelist.py +++ /dev/null @@ -1,37 +0,0 @@ -[ -"item" : "17", -"sentences" : [ -"George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil.", - -"He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978.", - -"One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art." - -"He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.'", - -"Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962). ", - -"We became friends and GB mailed instruction cards to me.", - -"I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963. GB agreed to provide instructions for an event at St Vincent." - -"For his 'Vehicle Sundown Event', GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles.", - -"Each card held an instruction to be performed with a vehicle.", - -"Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles.", - -"Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal.", - -"Participants performed about 50 events such as 'turn on lights', 'start engine', 'stop engine', 'open window'.", - -"This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting. c. 1963 ( I can confirm that Fr Melvin Ruprecht participated.", - -"I believe it was before I went to Washington as NCE editor, rv0" - -], - -"item" : "00", -"sentences" : [] - -] diff --git a/mostcommon.txt b/mostcommon.txt deleted file mode 100644 index d4b209c..0000000 --- a/mostcommon.txt +++ /dev/null @@ -1 +0,0 @@ -[('The', 201), ('sound', 134), ('I', 128), ('music', 124), ('work', 74), ('project', 70), ('new', 68), ('record', 67), ('performance', 60), ('This', 59), ('It', 58), ('In', 56), ('graphic', 54), ('also', 52), ('notation', 48), ('art', 48), ("'", 47), ('time', 47), ('DE', 44), ('scores', 44), ('works', 43), ('one', 43), ('event', 42), ('made', 42), ('PLAYER', 41), ('live', 41), ("'s", 41), ('He', 41), ('score', 39), ('artist', 39), (';', 37), ('records', 37), ('Rotterdam', 35), ('Pushing', 35), ('first', 35), ('A', 34), ('For', 33), ('like', 33), ('used', 33), ('artists', 32), ('part', 32), ('would', 32), ('idea', 30), ('use', 30), ('MIDI', 30), ('Scores', 29), ('piece', 29), ('really', 29), ('&', 28), ('analog', 28)] \ No newline at end of file diff --git a/putallhtmltexttogether.py b/putallhtmltexttogether.py index 1d7dba6..e95c2a6 100644 --- a/putallhtmltexttogether.py +++ b/putallhtmltexttogether.py @@ -1,10 +1,4 @@ import sys, os -from nltk import word_tokenize -from nltk import everygrams -from nltk import FreqDist - -stopws = ['i', 'me', 'my', 'myself', 'we', 'our', 'ours', 'ourselves', 'you', "you're", "you've", "you'll", "you'd", 'your', 'yours', 'yourself', 'yourselves', 'he', 'him', 'his', 'himself', 'she', "she's", 'her', 'hers', 'herself', 'it', "it's", 'its', 'itself', 'they', 'them', 'their', 'theirs', 'themselves', 'what', 'which', 'who', 'whom', 'this', 'that', "that'll", 'these', 'those', 'am', 'is', 'are', 'was', 'were', 'be', 'been', 'being', 'have', 'has', 'had', 'having', 'do', 'does', 'did', 'doing', 'a', 'an', 'the', 'and', 'but', 'if', 'or', 'because', 'as', 'until', 'while', 'of', 'at', 'by', 'for', 'with', 'about', 'against', 'between', 'into', 'through', 'during', 'before', 'after', 'above', 'below', 'to', 'from', 'up', 'down', 'in', 'out', 'on', 'off', 'over', 'under', 'again', 'further', 'then', 'once', 'here', 'there', 'when', 'where', 'why', 'how', 'all', 'any', 'both', 'each', 'few', 'more', 'most', 'other', 'some', 'such', 'no', 'nor', 'not', 'only', 'own', 'same', 'so', 'than', 'too', 'very', 's', 't', 'can', 'will', 'just', 'don', "don't", 'should', "should've", 'now', 'd', 'll', 'm', 'o', 're', 've', 'y', 'ain', 'aren', "aren't", 'couldn', "couldn't", 'didn', "didn't", 'doesn', "doesn't", 'hadn', "hadn't", 'hasn', "hasn't", 'haven', "haven't", 'isn', "isn't", 'ma', 'mightn', "mightn't", 'mustn', "mustn't", 'needn', "needn't", 'shan', "shan't", 'shouldn', "shouldn't", 'wasn', "wasn't", 'weren', "weren't", 'won', "won't", 'wouldn', "wouldn't", ",", ".", "?","!",":","(",")",">","<","@","#","``","/","–","''","‘","-","’", "DOCTYPE", "html", "!"] - path = "static/files/" for path, subdirs, files in os.walk(path): @@ -12,16 +6,10 @@ for path, subdirs, files in os.walk(path): if name.endswith('html'): file = os.path.join(path, name) total = open("allhtml.txt", "a") - with open(file, 'r+', encoding='ISO-8859-1') as f: + with open(file, 'r') as f: + print(file) + # print(f.readlines()) content = f.read() + print(content) total.write(content) total.close() - -with open('allhtml.txt') as f: - content = f.read() - tokens = word_tokenize(content) - tokens = [token for token in tokens if token not in stopws] - freq_file=FreqDist(tokens) - listofwords = open("mostcommon.txt", "w+") - listofwords.write(str(freq_file.most_common(50))) - listofwords.close() diff --git a/static/.DS_Store b/static/.DS_Store index 3ada25c..ba26f02 100644 Binary files a/static/.DS_Store and b/static/.DS_Store differ diff --git a/static/files/.DS_Store b/static/files/.DS_Store deleted file mode 100644 index 5008ddf..0000000 Binary files a/static/files/.DS_Store and /dev/null differ diff --git a/static/files/00/00.json b/static/files/00/00.json deleted file mode 100644 index e4fecd7..0000000 --- a/static/files/00/00.json +++ /dev/null @@ -1,13 +0,0 @@ -{ - "id": "00", - "name": "Yes", - "email": "sure@whynot.com", - "friend": "Y", - "content": "A sound file.", - "files":[ - "files/00/Participants.html", - "files/00/PushingScores.html", - "files/00/events.html" - - ] -} diff --git a/static/files/00/Participants.html b/static/files/00/Participants.html deleted file mode 100644 index 3fbfd96..0000000 Binary files a/static/files/00/Participants.html and /dev/null differ diff --git a/static/files/00/PushingScores.html b/static/files/00/PushingScores.html deleted file mode 100644 index ba7f7c2..0000000 Binary files a/static/files/00/PushingScores.html and /dev/null differ diff --git a/static/files/00/events.html b/static/files/00/events.html deleted file mode 100644 index a39b3b5..0000000 Binary files a/static/files/00/events.html and /dev/null differ diff --git a/static/files/01/.DS_Store b/static/files/01/.DS_Store deleted file mode 100644 index 6936d98..0000000 Binary files a/static/files/01/.DS_Store and /dev/null differ diff --git a/static/files/01/01.json b/static/files/01/01.json deleted file mode 100644 index 3d449d8..0000000 --- a/static/files/01/01.json +++ /dev/null @@ -1,11 +0,0 @@ -{ - "id": "01", - "name": "Yes", - "email": "sure@whynot.com", - "friend": "Y", - "content": "A sound file.", - "files": [ - "files/01/01.metadata.html", - "files/01/Photo/TGC1club-web-06 februari 2015-02.jpg" - ] -} diff --git a/static/files/01/01.metadata.html b/static/files/01/01.metadata.html deleted file mode 100644 index 09f4de1..0000000 Binary files a/static/files/01/01.metadata.html and /dev/null differ diff --git a/static/files/01/Photo/TGC1club-web-06 februari 2015-02.jpg b/static/files/01/Photo/TGC1club-web-06 februari 2015-02.jpg deleted file mode 100644 index 672a6fe..0000000 Binary files a/static/files/01/Photo/TGC1club-web-06 februari 2015-02.jpg and /dev/null differ diff --git a/static/files/02/.DS_Store b/static/files/02/.DS_Store deleted file mode 100644 index 195c8e8..0000000 Binary files a/static/files/02/.DS_Store and /dev/null differ diff --git a/static/files/02/02.json b/static/files/02/02.json deleted file mode 100644 index 3636da3..0000000 --- a/static/files/02/02.json +++ /dev/null @@ -1,16 +0,0 @@ -{ - "id": "02", - "name": "Yes", - "email": "sure@whynot.com", - "friend": "Y", - "content": "A sound file.", - "files": [ - "files/02/02.metadata.html", - "files/02/Photo/Scan Manual BACK 300dpi.jpg", - "files/02/Photo/Scan Manual FRONT 300dpi.jpg", - "files/02/Photo/TGC3achterkant.jpg", - "files/02/Photo/TGC3.jpg", - "files/02/Photo/TGC3 top.jpg", - "files/02/Photo/TGC3voorkant.jpg" - ] -} diff --git a/static/files/02/02.metadata.html b/static/files/02/02.metadata.html deleted file mode 100644 index e6d7c7e..0000000 Binary files a/static/files/02/02.metadata.html and /dev/null differ diff --git a/static/files/02/Photo/.DS_Store b/static/files/02/Photo/.DS_Store deleted file mode 100644 index 5008ddf..0000000 Binary files a/static/files/02/Photo/.DS_Store and /dev/null differ diff --git a/static/files/02/Photo/Scan Manual BACK 300dpi.jpg b/static/files/02/Photo/Scan Manual BACK 300dpi.jpg deleted file mode 100644 index 3fb830d..0000000 Binary files a/static/files/02/Photo/Scan Manual BACK 300dpi.jpg and /dev/null differ diff --git a/static/files/02/Photo/Scan Manual FRONT 300dpi.jpg b/static/files/02/Photo/Scan Manual FRONT 300dpi.jpg deleted file mode 100644 index 61645b6..0000000 Binary files a/static/files/02/Photo/Scan Manual FRONT 300dpi.jpg and /dev/null differ diff --git a/static/files/02/Photo/TGC3 top.jpg b/static/files/02/Photo/TGC3 top.jpg deleted file mode 100644 index 5661379..0000000 Binary files a/static/files/02/Photo/TGC3 top.jpg and /dev/null differ diff --git a/static/files/02/Photo/TGC3.jpg b/static/files/02/Photo/TGC3.jpg deleted file mode 100644 index f48fe95..0000000 Binary files a/static/files/02/Photo/TGC3.jpg and /dev/null differ diff --git a/static/files/02/Photo/TGC3achterkant.jpg b/static/files/02/Photo/TGC3achterkant.jpg deleted file mode 100644 index 29c6863..0000000 Binary files a/static/files/02/Photo/TGC3achterkant.jpg and /dev/null differ diff --git a/static/files/02/Photo/TGC3voorkant.jpg b/static/files/02/Photo/TGC3voorkant.jpg deleted file mode 100644 index 8fd659a..0000000 Binary files a/static/files/02/Photo/TGC3voorkant.jpg and /dev/null differ diff --git a/static/files/03/.DS_Store b/static/files/03/.DS_Store deleted file mode 100644 index 6936d98..0000000 Binary files a/static/files/03/.DS_Store and /dev/null differ diff --git a/static/files/03/03.json b/static/files/03/03.json deleted file mode 100644 index 50af3da..0000000 --- a/static/files/03/03.json +++ /dev/null @@ -1,11 +0,0 @@ -{ - "id": "03", - "name": "Yes", - "email": "sure@whynot.com", - "friend": "Y", - "content": "A sound file.", - "files": [ - "files/03/03.metadata.html", - "files/03/Photo/Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg" - ] -} diff --git a/static/files/03/03.metadata.html b/static/files/03/03.metadata.html deleted file mode 100644 index a49f942..0000000 Binary files a/static/files/03/03.metadata.html and /dev/null differ diff --git a/static/files/03/Photo/Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg b/static/files/03/Photo/Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg deleted file mode 100644 index b303493..0000000 Binary files a/static/files/03/Photo/Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg and /dev/null differ diff --git a/static/files/04/04.blurb.txt b/static/files/04/04.blurb.txt deleted file mode 100644 index 66427d3..0000000 --- a/static/files/04/04.blurb.txt +++ /dev/null @@ -1,5 +0,0 @@ -Here is a description of the event / artist / work. - -For the event, it can describe what happened, where it happened, when it happened. -For the artist, it can introduce the artist. -For the work, it can describe the content. diff --git a/static/files/04/04.motivation.txt b/static/files/04/04.motivation.txt deleted file mode 100644 index 180d6b0..0000000 --- a/static/files/04/04.motivation.txt +++ /dev/null @@ -1 +0,0 @@ -Why was the artist / piece / event included in the collection. \ No newline at end of file diff --git a/static/files/04/04.practice.txt b/static/files/04/04.practice.txt deleted file mode 100644 index c38de6c..0000000 --- a/static/files/04/04.practice.txt +++ /dev/null @@ -1 +0,0 @@ -Here you can go into length about an artists’ practice. For example, interviews, personal statements, reviews etc. \ No newline at end of file diff --git a/static/files/05/.DS_Store b/static/files/05/.DS_Store deleted file mode 100644 index 6a105f5..0000000 Binary files a/static/files/05/.DS_Store and /dev/null differ diff --git a/static/files/05/05.json b/static/files/05/05.json deleted file mode 100644 index c1e25d3..0000000 --- a/static/files/05/05.json +++ /dev/null @@ -1,16 +0,0 @@ -{ - "id": "05", - "name": "Yes", - "email": "sure@whynot.com", - "friend": "Y", - "content": "A sound file.", - "files": [ - "files/05/05.metadata.html", - "files/05/Sound/DOB079_VaastColson_CarlsonInvents.mp3", - "files/05/Photo/DOB079-Vaast-Colson-spread-1600px-web-160913-1.jpg", - "files/05/Photo/DOB079-Vaast-Colson-1600px-web-160913-11.jpg", - "files/05/Photo/ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20.jpg", - "files/05/Photo/DOB079-Vaast-Colson-1600px-web-160913-10.jpg", - "files/05/Photo/VaastColson.jpg" - ] -} diff --git 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deleted file mode 100644 index 1ffd857..0000000 Binary files a/static/files/17/.DS_Store and /dev/null differ diff --git a/static/files/17/17.blurb.html b/static/files/17/17.blurb.html deleted file mode 100644 index 6e79f96..0000000 Binary files a/static/files/17/17.blurb.html and /dev/null differ diff --git a/static/files/17/17.json b/static/files/17/17.json deleted file mode 100644 index e8aa239..0000000 --- a/static/files/17/17.json +++ /dev/null @@ -1,12 +0,0 @@ -{ - "id": "17", - "Who": "George Brecht", - "What": "Works", - "content": "A sound file.", - "files": [ - "files/17/17.blurb.html", - "files/17/Photo/brecht-event1.jpg", - "files/17/Photo/svc-1966-brecht's sundown event-i.jpg", - "files/17/Video/Drip Music - George Brecht (Fluxus)-UT5lgaE-qZY.mkv" - ] -} diff --git a/static/files/17/Photo/brecht-event1.jpg b/static/files/17/Photo/brecht-event1.jpg deleted file mode 100644 index 90e5c40..0000000 Binary files a/static/files/17/Photo/brecht-event1.jpg and /dev/null differ diff --git a/static/files/17/Photo/svc-1966-brecht's sundown event-i.jpg b/static/files/17/Photo/svc-1966-brecht's sundown event-i.jpg deleted file mode 100644 index 9383cbe..0000000 Binary files a/static/files/17/Photo/svc-1966-brecht's sundown event-i.jpg and /dev/null differ diff --git a/static/files/17/Video/Drip Music - George Brecht (Fluxus)-UT5lgaE-qZY.mkv b/static/files/17/Video/Drip Music - George Brecht (Fluxus)-UT5lgaE-qZY.mkv deleted file mode 100644 index 64b8586..0000000 Binary files a/static/files/17/Video/Drip Music - George Brecht (Fluxus)-UT5lgaE-qZY.mkv and /dev/null differ diff --git a/templates/home.html b/templates/home.html index fea21f8..2d53cbd 100644 --- a/templates/home.html +++ b/templates/home.html @@ -14,6 +14,6 @@ {% block index %} {% for each in index_dict %} {% set address = "/description?id=" + each %} - {{index_dict[each]}} + {{index_dict[each]}} | {% endfor %} {% endblock index %} diff --git a/templates/layout.html b/templates/layout.html index 83a1efb..fb9e22d 100644 --- a/templates/layout.html +++ b/templates/layout.html @@ -1,9 +1,9 @@ - + - <a href="">P.u.s.h.i.n.g.S.c.o.r.e.s</a> + P.u.s.h.i.n.g.S.c.o.r.e.s diff --git a/textedit.py b/textedit.py index d4071d6..03ef906 100644 --- a/textedit.py +++ b/textedit.py @@ -18,7 +18,7 @@ for path, subdirs, files in os.walk(path): if name.endswith('html'): file = os.path.join(path, name) total = open("allhtml.txt", "a") - with open(file, 'r+', encoding='ISO-8859-1') as f: + with open(file, 'r+') as f: content = f.read() total.write(content) total.close() @@ -47,21 +47,21 @@ sentences_w_word = {} def analysis(the_word, file_name): id = file_name[13:15] - with open(file_name, 'r+', encoding='ISO-8859-1') as f: + with open(file_name, 'r+') as f: content = f.read() sent_tokens = sent_tokenize(content) new_sent_tokens = [] for sent_token in sent_tokens: if the_word in sent_token: - new_sent_tokens.append({'id': id, 'sentence': sent_token.replace('\n', ' ').strip("'<>()")}) + new_sent_tokens.append({'id': id, 'sentence': sent_token.replace('\n', ' ').strip("'<>()“”")}) if the_word in sentences_w_word: # if this is not the first iteration previous_sent_tokens = sentences_w_word[the_word] full_sent_tokens = previous_sent_tokens + new_sent_tokens else: full_sent_tokens = new_sent_tokens - sentences_w_word[word] = full_sent_tokens - + sentences_w_word[the_word] = full_sent_tokens +# maybe ISO-8859-1 instead of utf8?? path = "static/files/" for path, subdirs, files in os.walk(path): @@ -71,5 +71,5 @@ for path, subdirs, files in os.walk(path): for word in keyword_list: analysis(word, file) -with open('wordlist.json', 'w', encoding="utf8") as outfile: +with open('wordlist.json', 'w') as outfile: json.dump(sentences_w_word, outfile, ensure_ascii=False) diff --git a/wordlist.json b/wordlist.json index 666b132..859ddaa 100644 --- a/wordlist.json +++ b/wordlist.json @@ -1 +1 @@ -{"Extra": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Transit": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "nl": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "broken": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}], "Wijk": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "phi0978.phi001.perseus-eng1:33.1": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Currently": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "popularity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "clocking": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "easily": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}], "mortal": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Venice": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "stylus": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "specific": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "Anonymous": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "urethan": [{"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "formed": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "deals": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Pistols": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "exciting": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "wove": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "surfaces": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "survive": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}], "role": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "R.": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "stacked": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "beat": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "1970’s": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "rendition": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "solfege": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "catastrophic": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "rock": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "meant": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}], "nowadays": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Canon": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "cts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "pauses": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "‘to": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "guess": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "extremely": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Circle": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "hacked": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "understanding": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "intrigued": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "any": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "pigeons": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "scan": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "otherworldly": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "singers": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "electricity": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "scola": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "haunting": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "May": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Jovi": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Colson": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "ensemble": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "reimagined": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "future.’": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "custom-built": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "scholarly": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "strongly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Data": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "CCA": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "WHY": [{"id": "04", "sentence": "WHY???"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "Investigation": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "missiles": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Hohti": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "board": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Hits’": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "RECORDS": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "I": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "traveled": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "recording": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Tantalum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "nearly": [{"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "fears": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}], "fact": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "function": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "Forever": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "map": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "variable": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "Off": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "supposed": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "‘drawing’": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "065": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "player": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "latinLit": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "there.’": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "Evelin": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "William": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "tiny": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "dig": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "–": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "entrance": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "numerical": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "aids": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "AND": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "text-sound": [{"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "skills": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}], "Disco": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "exchange": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "particular": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "strings": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Founding": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "20th": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "thereafter": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "turntable": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Xenakis-esque": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "steps": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "series": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "irregular": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}], "Shikari": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "life": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "reciprocity": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}], "big": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "companion": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "wrangling": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "excursions": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "translation": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Fall": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "types": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "entity": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "temporalities": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "kill": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "unlikely": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "Player": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "computational": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "bringing": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "NET": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "revenue": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "influenced": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "say": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "call": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "statement": [{"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "opportunity": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "town": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "bullets": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "argument": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "Mills": [{"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "ordering": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "Free": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "systems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "roofs": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Tectonics": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Kristoffer": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "care": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "means": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Right": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "bars": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "“We": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "p.34": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Let": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "classical": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "060": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "practice": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "appeal": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "Modernity": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "crushed": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "witnesses": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "related": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "wanting": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "last": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Lætitia": [], "discarded": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Circular": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "tendencies": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "readings": [{"id": "28", "sentence": "Different types of stone give different frequency readings."}], "Bennet": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Technische": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "come": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "alone": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "re-examined": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}], "mutually": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "|": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Dave": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "ARCHIVING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "2006": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "holes": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "plagiarize": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "gained": [{"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}], "stated": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "drive": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "21^st": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "arbitrary": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "adventurous": [{"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "pitfalls": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Tata": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "[": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "process": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "marginalised": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Steinn": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "LAFMS": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "CITG": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "scripture": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Technical": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "contemporary": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "sphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "free": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "commercial": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "credits": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "execution.We": [], "Aurélie": [], "BOWTIE//": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "bodies": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "origin": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "added": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "channels": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "method": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "confront": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "was": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Canada": [{"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Vehicle": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "show.”": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "feet": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "times": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Maffia": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "placed": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "Clean": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "records": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "Radical": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "Killers": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "personal": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}], "Annie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Fengjastrútur": [], "Christian": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Kittler": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}], "certain": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "//macumbista.net": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "station": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "'Principium": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "la": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "shapes": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "well.Â": [{"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "refined": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "blackers": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "index": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "neumens": [{"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "refers": [{"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}], "ear": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Low": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hop": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "among": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "Specifically": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "sorts": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "would": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "actually": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "upside": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "evolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "gone": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "unfolding": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Center": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "directors": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "consent": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "show": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "misdirected": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "inserted": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "Derek": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "1970s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "dead": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "dissatisfied": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Oostzijde": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "S.L.Á.T.U.R": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "playground": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "possibly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "real.Remco": [], "issues": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "demonstrating": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "accessibility": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}], "Ones": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Benny": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "perform": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "selecting": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "controller": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "library": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Enter": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "weaving": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Dagger": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "KAHN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "basis": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "varied": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "ago": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "misplaced": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "James": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Bergen": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "selections": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "forth": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "an": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Nathan": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "contact": [{"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "non-verbal": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "just": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "touch": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "dawn": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "wrongfully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "photovoltaics.’": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "extract": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "blog": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "goal": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "challenge": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "24.00": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "recent": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Presentation": [{"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "converting": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "printed": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "reinterpret": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "conductors": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "principium": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "published": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "Ray": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "follow": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "And I follow that."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Serial": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "initiated": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "myths": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "relatively": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "leave": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "studenten": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "deal": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Midas": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "implementation": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "unite": [{"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}], "decoupling": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "functioned": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "NIEK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "voice": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "it.’": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "NO": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Wrecking": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "storage": [{"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "realize": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "hardware": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "run": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "articulators": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "true": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "ultimate": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Wheels": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "stone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "hanging": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "Fengjastrútur": [{"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "god": [{"id": "24", "sentence": "“Before god needed to be invented there were man."}], "response": [{"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "experimentation": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}], "1958": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "'ve": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "deskilled": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "emptiness": [{"id": "24", "sentence": "emptiness has that same relation with notation."}], "categories": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "VECTOR": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "African": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "fragment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Graphics": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Singer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Jaðarber": [], "repeating": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "AN": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Winehouse": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "ethical": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}], "084": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "dad": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "UK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "score": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Apologize": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Summit": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Valentia": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Tcherepnin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Dancefloor": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "20^th": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "According": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "ownership": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "yodeling": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "going": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "master": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "celebrated": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "background": [{"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Brieselaan": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "sine": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "loosen": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}], "Stupidisco": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "]": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "1981": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "leads": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "status": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "Eckehard": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "greatly": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "funding": [{"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "Made": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "same": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Though": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "ask": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "More": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "Affect": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "rare": [{"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}], "Obtrusive": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "First": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}], "AU": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "deliberately": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "4": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Without": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "loss": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "them": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "mention": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "Working": [{"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Working with sound performance and art installation."}], "Blood": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Ne-Yo": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "heard": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "he’s": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "adhering": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "position": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Rhizome": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Book": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "2nite": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "labor": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "rich": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Pierre": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "23": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "shifting": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "playable": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "investigates": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "timelines": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "effects": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "said": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "context": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Call": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "8x12": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "77": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "limits": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "performs": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "you": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "humming": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "criteria": [{"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "pdf": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "who": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "studies": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "MIDITrail": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "VALENTINA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "conductor": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "Nelly": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "speculative": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "Curvy": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "importance": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Elder": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Iceland": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "50": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "filed": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "parent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "best": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "quartz": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "dimension": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "software/noise": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "1234": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "curdy": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "poetry": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Happenings": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "gesture": [{"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "composer": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}], "web-based": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "give": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "09.00": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "tribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "concentration": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Jack": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Kiem": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "foil": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "am": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "dismissed": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}], "Represent": [{"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "wanted": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "associated": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Does": [{"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "Paradiso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "80s": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Hausswolff": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "Hour": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Sydvaranger": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "encountering": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "communicate": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Sreeuwenberg": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "production’s": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "unconventional": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "mass": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Telcosystems’": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "lesser": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "month": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "//github.com/macumbista/vectorsynthesis": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Richards3": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}], "audio-visual": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "border": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "desire": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "29": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Germanium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Prins": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "past": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "non-pulse": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "analyzing": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "grey": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "ambient": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "illustration": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "landscape": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "5": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "ephemeral": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "destroys": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "most": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Aurélie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "2007": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "directing": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "explains": [{"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "scale": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "forget": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "program": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "URL": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "Xenakis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "blast": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "resonance": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "DEPLAYER/DOB": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "Handelsgebouw": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Mary": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "&": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "named": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "menace": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "downloadable4–": [], "2018.": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "developments": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "tape": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "control": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "WHO": [{"id": "04", "sentence": "WHO???"}, {"id": "09", "sentence": "WHO???"}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "31", "sentence": "WHO ???"}], "characterised": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "family": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "Acts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "period": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "designers": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Manic": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "quotes": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "09": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "teach": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "Balloons": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "mixed": [{"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Your": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "angles": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}], "unknown": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "installation": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "travelling": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "beyond’": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "retro-for-retro’s-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "typically": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Stadslimiet": [{"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}], "Crazy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "contrast": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Te": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Chili": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "carefully": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "resemble": [{"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}], "described": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "MIT": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "cheap": [{"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "time.Â": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "tend": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "motto": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Angeles": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "tradable": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}], "oscilloscopes": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "procedure": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "From": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Yourself": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "asked": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Records": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "April": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "21", "sentence": "New generations are born."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "Norway": [{"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "capturing": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "although": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Synthesizer": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "man": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "indignation": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "concept-": [{"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}], "tba": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "“Before": [{"id": "24", "sentence": "“Before god needed to be invented there were man."}], "wide-ranging": [{"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "intervention": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "5.00": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "greater": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "films": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "hockets": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}], "realized": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "Scores.Guðmundur": [], "degree": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "D": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "kitsch": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "internet": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Roberta": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "monumental": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "like": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "materiality": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "plant": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "sticker": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "commission": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "uk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "Durante": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "disc": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "constructed": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "if": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Margreet": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "listrænt": [], "â–": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "punched": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "founders": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "anticlimax": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "liverecordings": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "speakers": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Bobby": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "On": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Media": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Rivière": [], "interact": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "print": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "automatic": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "beneath": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "main": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "phrase": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "Koos": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "marvelling": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "matched": [{"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}], "catalysts": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "SESSION": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "elastic": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}], "rules": [{"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "Shirasagi": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "Beautiful": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ingredients": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "colors": [{"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "participate": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "Valentina": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "enlarge": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "stefan-smulovitz": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Cologne": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "electromagnetic": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "laut": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "'work": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "González": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "jpeg": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "Chemical": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "choreographies": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "c.1962": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Light": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "hurry": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "-Piet": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "Andre": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Architecture": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "for": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "sculpting": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "kilometers": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Giralt": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Dog": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "sessions": [{"id": "06", "sentence": "-You do it in short sessions, hah."}], "yearly": [{"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}], "powerful": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "came": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "parts": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "2014": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "least": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "'Musical": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "mean": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "becoming": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "monitors": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "Lazytown": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Team": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "framed": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Palestine’s": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "dimensions": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "received": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "slag": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "hall": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Author": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "invited": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Searching": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "combinations": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "dare": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "Greatest": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Chokehold": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "magnetite": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "walls": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "langbeinite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "modern-day": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "completely": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "The system was therefore completely stuck."}], "explore": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "steel": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "evoking": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "sonic": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "compression": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Theodore": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "letter": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}], "valorizes": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Red": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "joined": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "1972": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "strangely": [{"id": "07", "sentence": "It’s strangely hypnotizing."}], "light-sensitive": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "pre-digital": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "locations": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Zwart": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "costs.’": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "Gnarls": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "dimensional": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Bon": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "purposes.”": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "metal": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "passed": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "non-profit": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Many": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "strong": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Johannes": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Mind": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "gets": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "HILKMANN": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "logic": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "description": [{"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "ca": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "found": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Amsterdam": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "BJ": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "photographic": [{"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "built": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "larger": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Has": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "crazy": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "following": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "continuïty": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}], "Patrick": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "transpose": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "levels": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}], "Deterministic": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "satisfaction": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "strategy": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}], "ANA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Arrows": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Ideal": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Dutch": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "illegally": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "which": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "demands": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}], "type": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "Tinna": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "DENOTING": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "patterns": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "copier'": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "film": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "it": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Time": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "courtesies": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "we": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}], "33-second": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "NILSEN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "fitted": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}], "MAMPlayer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Yann": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "comprise": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "impressive": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "reflect": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "shortwave": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Scherzinger": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "Kakakakaito1998": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "nonsensical": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}], "synth": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "Witte": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "anyway": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}], "Curran": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "denote": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "serving": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "Kunsthal": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "qualities": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "treatment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Britton": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "//endlesswebsite.blogspot.nl/": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "approach": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Lazlo": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "earning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Also": [{"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "edition": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "bart": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "noise": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "world": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "computing": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "belong": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "inventions": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Bubbly": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "addres": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "sterile": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "fit": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "impose": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "late": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "audiovisual": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "Holzer": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "A": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "v3": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "2018": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "indicates": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "probe": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "celestial": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Belgium": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "Up": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "25": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "M.A": [{"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "Over": [{"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}], "MORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "December": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "1991": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "earliest": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "allows": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "footage": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Larrikin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "hardly": [{"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}], "somehow": [{"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}], "chronology": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "currently": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "automaton": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "providing": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "here": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "publish": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "spines": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "coloured": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "deciding": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "told": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}], "keep": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Nam": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Gert-Jan": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "‘kullbingen’": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "tantalum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "resistance": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "Queens": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "be’": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "complexity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "drug": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "Faster": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Arts": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "visited": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "laboratory": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "closer": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "trelations": [{"id": "24", "sentence": "I think silence has that same trelations with music."}], "Cushh": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "students": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "DE": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "mid-twentieth": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "political-economical": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "quality": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "alternative": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "via": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "see": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "And": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "'Noise": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "synthetic": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "contained": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "miss": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Paul": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "stickers": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "sleep": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "weren’t": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "note": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "lot": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "view": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "ruled": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "von": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "synthesizer": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "signs": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "replaces": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "application": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "speech": [{"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "mirror": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "length": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "perceptions": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "Eventually": [{"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "medieval": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Czech": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "3D": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "areas": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "Luv": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "xerox": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "understand": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "features": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "facsimile": [{"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "desired": [{"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "Will.I.Am": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "industries": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "listen": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Bøtcher": [], "abroad": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Sugar": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "folkoristic": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Cruce": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Popularity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Keynote": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "dated": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "2313": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "zine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "worked": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "groups": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "reproductive": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}], "recorded": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "book": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "black": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Brosi": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "expectation": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "began": [{"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "productive": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "vinyls": [{"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "may": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "-You": [{"id": "06", "sentence": "-You do it in short sessions, hah."}], "Change": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Remco": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "Workshop": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Ensemble": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "City": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "fundament": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "UNI": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "training": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "vectors": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "everyday": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "one-note": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "rpm": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "popular": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "St": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "uniform": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "creation": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Cry": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "superfast": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "Biennale": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Peter": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "MAX": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "California-based": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "assessment": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}], "In": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Music’": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "Guetta": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "As": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "decorative": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "B": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "constantly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "//www.newcriticals.com/deep-mining-deep-time/page-3": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Knížák": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Hilde": [{"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Virtual": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "generative": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "sign": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Four": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Spoon": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "Huellkurven": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "shipped": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "journalists": [{"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "instruments": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "Tell'em": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "visualises": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "venue": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "preserved": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "festivals": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "screen": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "concrete": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "writing": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "Publication": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "hands": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "'WdW": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "Thingamajigs": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "theatrical": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "his/her": [{"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "ERA": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "JoJo": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "per": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "‘frakativ’": [{"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}], "SMITH": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "spotlighted": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "yodel.”": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "territory": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "O": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "WHO???"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "WHO???"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "WHO ???"}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "sizes": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "student": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "ceiling": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "military": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "further": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "low": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "addition": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Ben": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Siobhan": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "saying": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "Melanie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "UNTITLED": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "MacDiarmid": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "folding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "including": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Moon": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "teachers": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Richards": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "Nynne": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "Animation": [{"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}], "2-3": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "‘I": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "Better": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Candyman": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ambition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "spaces": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "listening": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Line": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "Step": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "arguably": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "4th": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "decided": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "revolutionized": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "become": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "low-wage": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "invisible": [{"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Girls": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "lifted": [{"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}], "ball": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Underground": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "University": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "TDK": [{"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "Image": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "Lonely": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "message": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "kind": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "China": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "interaction”": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Guedes": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "highly": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "Dennis": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Of": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "Fusinato": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "developing": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "happen": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "comprises": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "slowly": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "geological": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "bad": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "fundamental": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "some": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "space": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "residence": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Fontys": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "loud": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "south": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "purpose": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "area": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}], "foremost": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "speak": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "increased": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "publisher": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Arsenale": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "radical": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "driving": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "functions": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "random": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "theatre": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "species": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "“detuning”": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "financial": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Nadine": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "soundscapes": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Again": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "elementary": [{"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}], "century”": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "websites": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Bladel": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "diverse": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}], "quantums": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "failures": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "favourite": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "collaboration": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Pedersen": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "outhouse": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "bookbinding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "filmscreening": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}], "scores.Derek": [], "Noordt": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Intersection": [{"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "programme": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "'deep": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}], "Tilburg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "non-musical": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "instantaneously": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "fair": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "Enrique": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "heart": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "bring": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "collaborating": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "Jonas": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Maiguashca": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Proclaimers": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sound": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "ultimately": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "commercially": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "adds": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "street": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "equivalent": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "bunch": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "radiating": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "away": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "predate": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "‘frikativ’": [{"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "Daniel": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "rigorous": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "mining": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "interrupted": [{"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "filtered": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Laetitia": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "newspapers": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "felt": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Shayne": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "3rd": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "perhaps": [{"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "Bergmark": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Academie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "Florian": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "raster": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "theoretical/historical": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Trans-acoustic": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "no.Â": [{"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}], "Spahlinger": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Hopi": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "implosions": [{"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "converts": [{"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "It": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "President": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "determine": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Albert-Ludwigs-Universität": [], "stage": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Sozzi": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "collages": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "onto": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "sits": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "copied": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "closed": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It created a vacuum after it closed."}], "Arctic": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "difficult": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "water": [{"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}], "your": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "opinion": [{"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}], "anybody": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "choreographically": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "festival": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Newton": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "animal": [{"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "dematerialization": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "plucks": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "consultant": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Therefore": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "giving": [{"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "earth’s": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "direct": [{"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "every": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "RAFAËL": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "fr": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "reasons": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "MS20": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "mixing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "these": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "attempt": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "house": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "cassette": [{"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "notated": [{"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}], "song": [{"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "span": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "artificial": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "end": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "and/or": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "employed": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "dystopian": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "poisonous": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "America": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Sound": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "drone": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So more drone, definitely."}], "pz": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}], "affirming": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "likened": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "entire": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "tasks": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "tuning": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "wrote": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Charts": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "Bunton": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sound-artists/composers": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "www.helgajakobson.com": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Dance": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "untouched": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "Event": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Anyway": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "leaving": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "Were": [{"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "parameters": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "continuous": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "biotope": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "even": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Review": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "starts": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "flux": [{"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Delft": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "still.’": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "someone": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "2016–2017": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "them.’": [{"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "Cat’s": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "custom": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "metre": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "1985": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Tetra": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "control.Â": [{"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}], "feel": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t feel this record has that."}], "presents": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "inventive": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "concret": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "animation": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "Hiele": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "GOURDON": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "oldest": [{"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "tapes": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "Kuzbass": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "cliché": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "exploitation": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "tactics": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}], "Steina": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "include": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Gris": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "aesthetic": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "parallelling": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "Score": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "sacred": [{"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "visuals": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "tell": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "obsolete": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "copy": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "transport": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "‘Slow": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "figures": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "imprudently": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "participated": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "changing": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "above": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "Angel": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "To": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "guide": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Maiden": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "located": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "opera": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "building": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "where": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "guests": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "1960": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "Fuller": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "//en.wikipedia.org/wiki/Baton_": [{"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}], "Each": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "studied": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "factories": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "guise": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Klafferi": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "c.": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "c. 1963"}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "side": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Pipkin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "thread": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "early-": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "over": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Hackaday": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "transmitters": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "//animatednotation.com/Steinn.html": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Guido": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Sometimes": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "calls": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Max": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "how": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "screens": [{"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "harvested": [{"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "want": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "studios": [{"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "stones": [{"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "ethics": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "unreadable/unplayable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "three": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "ordered": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "fiction": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "‘runtime’": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Het": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "website": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "Browne": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Sonido": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "shoot": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "radiation": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "schematics": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "box": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "oscillate": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "oscilloscope": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Official": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "affiliated": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "showcasing": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "//ygourdon.net/": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "modernist": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "“GesammttkkunnsttMeshuggahhLaandtttt”": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "One": [{"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "Piet": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Zürich": [], "-Ana": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "sung": [{"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}], "implosion": [{"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "mentioned": [{"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "ClÃ": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "passage": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "remove": [{"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "amblygonite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Pask": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "knowing": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Project": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Gareth": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "refusing": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Sunshine": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "glad": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}], "new": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "'anitation": [{"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}], "POLY-DISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "fascinate": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Ai": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "2009": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "//pubs.usgs.gov/gip/0167/gip167.pdf": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "9-11": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Serge": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "historical": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Pendulum": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Minogue": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "-Derek": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "Caillat": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Borders": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Matt": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "barely": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "prices": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "meets": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "cassiterite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "//huellkurven.net": [{"id": "20", "sentence": "URL: http://huellkurven.net"}], "Creation": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "ch": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "pasting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "www.facebook.com/xpub.pietzwart": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}], "2.0": [{"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "consoles": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "courses": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Will": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "harshness": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "believing": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "serve": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "in/out": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "string": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Japanese": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Tennis": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "edit": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "largely": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "commissioned": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "Meat": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "Breathless": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "probably": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "guided": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "inspired": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "display": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "MgO": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Kooning": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "media": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Rowan": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Pres": [{"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "label.Helga": [], "vector": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "Þosteinsdóttir": [], "//macumbista.net/": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "professional": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Home": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "activate": [{"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}], "Koninklijk": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "play": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Andrea": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "multiplexed": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Another": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "word": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "extensive": [{"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}], "economical": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "departure": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "interpret": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "basements": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "immersive": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "e-culture": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Closer": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "primarily": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}], "Valentino": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "belongs": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Régine": [], "noted": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "cultural": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Burning": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "e-flux": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "reproduction.Jacques": [], "stuck": [{"id": "25", "sentence": "The system was therefore completely stuck."}], "Nagy": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "instructions": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}], "articulate": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "theater": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Dukalska": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "device…": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "teaches": [{"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "Art": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "improvised": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "standard": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "formations": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Georgia": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ephemera": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}], "Analog": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Jessica": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "abstract": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "vulnerable": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "Francisco": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "arrives": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "category": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "called": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "announcement": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "Børup": [], "went": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "fine-tuned": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}], "languages": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "emotions": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "Ending": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "KREIDLER": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "swarms": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "Fighters": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Beware": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "entirely": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "still": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Lumidee": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "19:00hrs": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "sat": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "increasingly": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "help": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Short": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}], "sucker": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "Morton": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "invitation": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "office": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "special": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "February": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "unnoticed.": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "K2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "invented": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}], "techniques": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "8.00": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "move": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "makes": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "tremble": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Anitation": [{"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "extremis": [{"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "Presented": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "social": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Travis": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "number": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "devices": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Feb": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Life": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Chen": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "10": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "suggested": [{"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "“The": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "Buennagel": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "Waters": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "“feed": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "composing": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "resonant": [{"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}], "Clumsy": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "pen": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "don": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "consists": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "band/art": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "thus": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "person": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "'Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}], "after": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "plunder": [{"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "corresponded": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "enter": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "confines": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "C": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Party": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "country": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "melody": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "embarrassment": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "cooperation": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}], "coin": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "cheaper": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "relations": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "general": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "towards": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "microscopic": [{"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "17": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "directly": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "themes": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "liberating": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "shifts": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}], "multi-instrumentalists": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "Timo": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "aforementioned": [{"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "middle": [{"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "converted": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}], "2017": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "WHAT": [{"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}], "Blunt": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Agenda": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "fully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "matrix": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Donaghy": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Vegetable": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "chamber": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "MATA": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "easier": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "recherches": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "Korea": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "much": [{"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Whether": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "lecturer": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "room": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Aloud": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "helped": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "Flanders": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "renderings": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Love": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "amplify": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "1973": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "resources": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "besides": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "cause": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "shortly": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Efron": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "spread": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Hilmar": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "model—namely": [], "scar": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "That is quite scary."}], "Minnesota": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "both": [{"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "lautpoesie": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "initiate": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "players": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "scripting": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "landed": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "'presence": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "English-language": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "zoos": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "500": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "cash": [{"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "individual": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Rozendaal/Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "stick": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "T": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "quo": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "worrying": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "Vanhoof": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "non-existent": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Translated": [{"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}], "spodumene": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "vertical": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Henry": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "abilities": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "study": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "bloggers": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "confrontational": [{"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "relationships": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "stores": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "VUKSIC": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Different": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "crackles": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Paramore": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "en": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "24/03/2017": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "smooth": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "occurs": [{"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "borderline": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "moving": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "decade": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "games": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "key": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "from": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "reinterpretation": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "laptop": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}], "Defun": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "movements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}], "intertwined": [{"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}], "positions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "8": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "minute": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}], "respective": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "feminist": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "branches": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Orientation": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "observing": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "concepts": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "visual": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "H2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "St.": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Representing": [{"id": "12", "sentence": "Representing 3."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "Verka": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "xenotime": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "‘recording’": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}], "materialization": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}], "canvas": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "sided": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Resonanz": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}], "Roman": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "instruments..": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "separate": [{"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}], "metals": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "​​'cracked": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "indicate": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "objects": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "Pavilion": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "future”": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "deltas": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "yield": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "around": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "enough": [{"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "will": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "Verge": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "stability": [{"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Ultra": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "century": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "superstructure": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "listener’s": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "TheTrueEnd": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "sculpture": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "western": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "highlights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "double": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "ore.": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "Joy": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Mineral": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "recreating": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "Traffic": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "der": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "ephemerality": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "transmutation": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "respond": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "summer": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "repertoire": [{"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "visually": [{"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Matthieu": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "After": [{"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "plate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "G": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Good food and drinks were served."}], "vocation": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "scheelite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "gallium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "'attitude": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "formal": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "literally": [{"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}], "couple": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "dissent": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "//www.instagram.com/macumbista/": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "doubting": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "changes": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "spot": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Bank": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "touchpads": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}], "PZI_XPUB": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "singing": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "magnets": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}], "emulation": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "developed": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "West": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "origins": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Ingólfsson": [], "grow": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "values": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "identities": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "International": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "reciprocal": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "PUSHING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "two-year": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "Editors": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "doubts": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}], "near": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "Vleeshal": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "Tumbai": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "population": [{"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Mal": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "inquiry": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "‘This": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "pioneers": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "nicely": [{"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}], "1980": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "manipulated": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "na": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "logistics": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Dress": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "signal": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "executed": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "southwestern": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Guillemots": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "drafts": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "1990": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Wales": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "reproducibility": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "re-use": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "Conservatorium": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Girl": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "somewhere": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "through": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "art": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "emulating": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "actual": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "knew": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Do": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "60s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "089": [{"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "14": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "indictment": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "consistently": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}], "remains": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}], "Snow": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "Kerckhoven": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "interferometry": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "MAT": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "Back": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "way’": [{"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}], "proceeds": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "aspect": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "legal": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "course": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "framework": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "actions": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "output": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}], "democratic": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "“the": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "stuff": [{"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "multi-instrumentalist": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "Days": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "LIERMAN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "piece": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Methi": [{"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Platinum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "learn": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "instrumentalize": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "coming": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "MUSIC": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Grandmother": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "lights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "tutor": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "elements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "array": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "projection": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "style": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "about": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "periphery": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Hague": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "actors": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "absorbed": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "collectively": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "‘slambanken’": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "So": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "father": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "Rostock": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "Nations": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "songs": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "earthquakes": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "very": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Hunk": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sequencer": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Polyphonic": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "listrænt": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "operates": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "Me": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Potter": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "geology": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Bischoff": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Musicales": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "happening": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}], "make": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Breaking": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Jörg": [], "effect": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "mostly": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "graphically": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "monster": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "AMSTERDAM": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "involved": [{"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "members": [{"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "comes": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Filo": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "electroacoustic": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "disturber": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "ever-evolving": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "arrive": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "create": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "less": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "morphing": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "bunkers": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Really": [{"id": "06", "sentence": "Really great stuff."}], "self-aware": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "30.000": [{"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "follows": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "Backfire": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "responds": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Professor": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "7": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "rolls": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "keys": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "thinking": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "philosophy": [{"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "93": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "2011": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "plus": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "communities": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "CRT": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "action": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "firmament": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "tons": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "abuse": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "floor": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Product": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "extends": [{"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Hoof": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "lasting": [{"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "Peter’s": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "Serduchka": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "hear": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "electro": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "does": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "20": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Brecht": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "theorist": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "put": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "available": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}], "credit": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "99": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "USA": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "due": [{"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "early": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "silence": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}], "progeny": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "boom": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "manageable": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "existing": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "endless": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "Most": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "planes": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "with": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Broken": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "look": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "PU": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "She": [{"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "Historia": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "perceives": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Nov": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Douga": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "drawn": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "introduce": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "Kahn": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}], "footwork": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "Air": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "caverns": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "“reciprocal": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "sheets": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Eric": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Blossom": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "P": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "writer": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Sláturtíð": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "adopted": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "update": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "nor": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "slambanken": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "installational": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Sevenfold": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ziegler": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "“tried-and-failed”": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "Witt’s": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "Willis": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "propositions": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "-If": [{"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}], "modifying": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "shouldn": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "images": [{"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "Sandy": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "that": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "mill.’": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Calvin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "necessity": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "exclusive": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Based": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "architecture": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "68": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "puppet": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Timisoara": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "knowledge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "decoding": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "valid": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}], "baton": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "choral": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "theory": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}], "physical": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "apartment": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "“pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "Mosconi": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}], "United": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Thu": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "YANN": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "field": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "structures": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "interacting": [{"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "l’Arsenale": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Presley": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "determines": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "aiming": [{"id": "06", "sentence": "aiming for the best of both worlds there.Â"}], "speaker": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "intention": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "improvisation": [{"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "peculiar": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "seen": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "//telcosystems.net/product/resonanz/": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "essentially": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "documenting": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}], "buildings": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "incredible": [{"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}], "final": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "emphasizing": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Ross": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Computer": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "paste": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}], "Harris": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Markus": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "psyche": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "mortals": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Scottish": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "33": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "poésie": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "personifying": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Frith": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "narrative": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Suede": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Shena": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "20:00hrs": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "break": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], ";": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "0.2": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "thing": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "commemoration": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "1980’s": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "McCartney": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Rotem-Stibbe": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "'d": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "lectures": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "projected": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "inserting": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "September": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "pretty": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Flute": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "representatives": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}], "stand": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "wherein": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "constraint": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "market": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Kingston": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "cliché": [], "Cobra": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "evolutionary": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "down": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "contain": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "however": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "back": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "counter-energy": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "hope": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "genres": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "designed": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Cascada": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "losing": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "dub": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "results": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "along": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "norm": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "mechanized": [{"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "ILDA": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Vos": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "versions": [{"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "poem": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "engagement": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "utensils": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "forcing": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "expand": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "snowfall": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "subtitled": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "sampling": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "interaction": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "instead": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "sound/music": [{"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}], "mineral": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "//www.deplayer.nl/releases/principium-20": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}], "vocal": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "depending": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "translate": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "ORE.": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "reconstruction": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "unusable": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "“extra-musical”": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "concentrated": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "SCORES": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Small": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "him": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "microphones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "irrelevance": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "ROSS": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Zeus": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "LCD": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "recognition": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "weren": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "Pure": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "fluxus": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "cover": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "enchants": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Tiesto": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Kinnunen": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "technology": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "bauxite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Floris": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "grid": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "micro-capacitors": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "reproductions": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "huge": [{"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "vries": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "Junior": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Úlfar": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Dunkelmann": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Jennifer": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "prototype": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "tipped": [{"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "Karina": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Þosteinsdóttir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Bed": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "considers": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}], "discussions": [{"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "age": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "correct": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}], "70": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Composers": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "Gudmundur": [{"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}], "Helsinki": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "matter": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Rutt-Etra": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "each": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "‘Mining’": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "-Not": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "audio": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "submitted": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "version": [{"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}], "Palestine": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "air": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "order": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "performances": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "brass": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "a": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "page_id=5000": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Buckminster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "plucked": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "polyphonic": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "multicultural": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}], "‘You": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "invents": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "particularly": [{"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}], "AURÉLIE": [], "Analysis": [{"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "Symphony": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Museum": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "generates": [{"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}], "honest": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "represented": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Oscilloscope": [{"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}], "collect": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "though": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "oriented": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "Mesias": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "once-current": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "intuitive": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "eleven": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "institutional": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "common": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "reception": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "subjects": [{"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "vanished": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "enjoyable": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "‘In": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Copperman": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "regeneration": [{"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "Instead": [{"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "Day": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "General": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Possibilities": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "0.01": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "expansion": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Vectrex": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "interfaces": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "anime": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "live": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "intact": [{"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}], "phase": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "XY": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "up": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "her": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Monkeys": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "feat": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "prod": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Street": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "focus": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Grenoble": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "Nico": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "structure": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Era": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Coming": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "Partiro": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "reminded": [{"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "fell": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Xyears": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "experimental": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "coal": [{"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Carey": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "grown": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "computers": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "disseminating": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "“ensuring": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "depicting": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Hamburg": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "former": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "ones": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Besides": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "collage": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "phones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "ok": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "poésie": [], "regard": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "trajectories": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "explorative": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "rasterized": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Enschede": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "t": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "authors.Â": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "allegorical": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "appropriation": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "join": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "shy": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "believed": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "psycho": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "development": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Enemy": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "trickster": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "horizontal": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "tracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "sonification": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Sean": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "fraction": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "overlap": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "consonants": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "ability": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Ellen": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "documentation": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "Paik": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "blackens": [{"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "page": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "convinced": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}], "blending": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "interconnections": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "given": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "Republic": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "looks": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "ágengra": [], "Tempest": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "serves": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Shakira": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "home": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "Jetset": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Adapter": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "absurd": [{"id": "28", "sentence": "It’s absurd when you start to think about it."}], "30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "months": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "Mobil": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "cut-up": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "positive": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "caused": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "collectives": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "niobium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "detonation": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Wikia": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "15": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "udia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "regularly": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "biotopes": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "platter": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "takes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "repetition": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "similarities": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "Kaprow": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "pass": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Shayna": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "pioneering": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "labelled": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "jumpcuts": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "Aid": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "instrumental": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "refocus": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "Dates": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Faulkner": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "but": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Almost": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "fairly": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "veins": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "drop": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "simultaneous": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "we-make-money-not-art.com": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "continue": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "actively": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "DOB073": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "solo": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}], "misunderstanding": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "interested": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}], "speculated": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "colorful": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "graphic/sculptural": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Exotica": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "fly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Often": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "she": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "scream": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "inside": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "effort": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "plantenga": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "archaeology": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "World": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "Trying": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "nature": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "teaching": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "pavilion": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "resulted": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "discourse": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "sheer": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "decision": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "Interview": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "spider’s": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "Both": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "interview": [{"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "determined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "revolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Laboratories": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Stained": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "centre": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "Karaoke": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "ore": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "referring": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "properly": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "unexplored": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "markers": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "Cradle": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "handle": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "copyright": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "expression": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "1967": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "jukebox": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "Keane": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "HILKMAN": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "manipulate": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "produces": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "Christina": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'participatory": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "approaches": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "ROTTERDAM": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "evening": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "widely": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "long-duration": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "poet": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "Niek": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "Triple": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "Ziolkowski": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "organisations": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "they": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Alvin": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "material": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "engaging": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "curated": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Drip": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Borrow": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "‘Earthquake’": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "also": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "influential": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "sense": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "publications": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "complex": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "viewpoints": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "spraying": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "eleventh": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "unable": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "maximum": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "rigid": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "Abuses": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "reach": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "official": [{"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "gray": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "recordstore": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "hang": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Siberia": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "continues": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "dating": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "beyond": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "influences": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}], "Alarm": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Hearts": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Freiburg": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "unplayable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "musically": [{"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}], "RafaÃ": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Conlon": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "researcher": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "PARADISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "stages": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "playing": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "Hard-Fi": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "precisely": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Al2O3": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "setting": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "pragmatical": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "Fred": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Friends": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Black": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "J": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "National": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Shoes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "sped": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}], "Crystal": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "maker": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "institutions": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "explained": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Jörg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "unfolds": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "clever": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}], "However": [{"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "little": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "seventies": [{"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "samples": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "five": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "misuse": [{"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}], "couldn": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "base": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Clothes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "his": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "piano": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "S.": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "acting": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "section": [{"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "Am": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Sámi": [{"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}], "Eczema": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Australia": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "evenings": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "2008": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "work/action": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "States": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "musical": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "front": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}], "haiku-like": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "test": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "expressing": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Amazing": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "DAAD": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "%": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Woody": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "built-in": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "‘post-ironic’": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "PINKIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "compressed": [{"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "sensitivities": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "together": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Debatty": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "drifting": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "axiomatic": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}], "step": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "complementary": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Gods": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "contains": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "threads": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "leftover": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Naturalis": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Gordon": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "properties": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Myers": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "points": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "beauty": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Him": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "DOB094": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "bridge": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Orchestra": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Chill": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "quipped": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "vanBasco": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "realtime-controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "cybernetics": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "sixties": [{"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Vaasts": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "inscriptions": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "conceptually": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}], "because": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Basically": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "circular": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "cracking": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "never": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "Theories": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "quite": [{"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "money": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "IR2016": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Lierman": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "methodologies": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}], "Anders": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "actuality": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "‘braunkohle’": [{"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}], "Graphite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "About": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "dummy": [{"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}], "making": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "states": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}], "mechanical": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Marclay": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Studies": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "quotations": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "indeterministic": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "getting": [{"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "materials": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "i": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Acrylic": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "scratched": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "keen": [{"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "//bergmark.org": [{"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Iglesias": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "Burn": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Bleeding": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "SiO2": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "whatever": [{"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "curating": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}], "collection": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "2016–2017": [], "chemist": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "exchanges": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "'graphic": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "requires": [{"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Sveinbjarnardóttir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "corresponding": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "moths": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "studio": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "demonstrations": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "post": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "Italian": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "Ingólfsson": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Duo": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "flaws": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "Any": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "do": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "//www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin": [{"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "laid": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "compiling": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "born": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "21", "sentence": "New generations are born."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}], "arctic": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "logistically": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "discards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "Bouwman": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Iraq": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "terms": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "mined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "possibility": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "wind": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Come": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "uninhabitable": [{"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "human": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "completed": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "engineer": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "used": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "og": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "issue": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "pitch": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "BERGMARK": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "apply": [{"id": "28", "sentence": "I apply filters, use electronics."}], "How": [{"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Gon": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "placing": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Artkillart": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "impossibilities": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "TGC3": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "tempel": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}], "Brian": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "implication": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "broadcasting": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Funny": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "Davis": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "comet": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "compose": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "keyboard": [{"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}], "raped": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Julia": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "real-time": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "garnered": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "those": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "handcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "PZI": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "70,200": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "bite": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Mead": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Riphagen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Anything": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Origins": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Antwerpen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "academy": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "revolves": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "blurring": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "mix": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "competition": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "applications": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "turning": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "generally": [{"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "Carlson": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "jive": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "pages": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Saturday": [{"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "MARCO": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "willing": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}], "slivers": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "purely": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}], "Joseph": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "Affair": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "standardised": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "‘Jazz’": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "2D": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "//macumbista.netWe": [], "died": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "man’s": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "session": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "choose": [{"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}], "artwork": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "seminar": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "End": [{"id": "06", "sentence": "End of piece."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Despite": [{"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "tónsmiða": [], "segments": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "remarkable": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "ice": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "maybe": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "clear": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "Vaast": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}], "remotely": [{"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "painstakingly": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "Cola": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "compositional": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}], "Furtado": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "short-lived": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "organizing": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "BUMA-STEMRA": [{"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "‘There": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "floppyesk": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "Gohan": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "know": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "screamed": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}], "recently": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}], "technician": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Explorer": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "“non-musical”": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "channel": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "story": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Foerster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "signed": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "experimenting": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Location": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}], "Night": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "time.": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "extraordinary": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Pinkie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "frequent": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "rising": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "n't": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "emotional": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "expanded": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Aurelie": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "enrolled": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "horrible": [{"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "exchanging": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "Repeating": [{"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "enjoyable..": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "tuned": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "possibilities": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "Writer": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "fall": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "respect": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "Artistically": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "Nordlichter": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "rudimentary": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "devoid": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "Placements": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "concert": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "sort": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Tielemans": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "spatial": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "François": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "creative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "height": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "design": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "‘other": [{"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}], "encounters": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "angle": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Régine": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "yodel.": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "0.05": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "behavior": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "industry": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "'ti": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "manmade": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "GEMA": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Nicole": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "argentite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Oct": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "Size": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Institute": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Stump": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "samtök": [], "Sacrificing": [{"id": "12", "sentence": "Sacrificing 2."}], "DIY": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}], "impuls": [{"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}], "again": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "BENNETT": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "releases": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "economic": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "fresh": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "readable": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "email": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "redefine": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "tune": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "connection": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "next": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "rethinker": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Crumb’s": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "artistic": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "shouldn’t": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "have": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "constitutes": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "claim": [{"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Always": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Notation": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Political": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "David": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "code": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "subjective": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "reference": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "manage": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Nelle": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "painting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "audio-driven": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Spider": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "BUENNAGEL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "interference": [{"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}], "compilation": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "processed": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "continued": [{"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "concept": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "statement..": [{"id": "06", "sentence": "And a statement.."}], "Kürten": [], "Erik": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Nancarrow": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "mines": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "regarded": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "coverage": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "outside": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "model": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "vacuum": [{"id": "28", "sentence": "It created a vacuum after it closed."}], "Raspberry": [{"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "backgrounds": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Festival": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "1": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Haan": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Jyly": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}], "drying": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "well-known": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "lack": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Calm": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "HIELE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "spoken": [{"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "arm": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "third": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "audiofile": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "Trilogy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "STEIM": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Saelmakers": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "far": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}], "continuously": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "mental": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "It’s": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}], "ágengra": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "sky": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "society": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "Mika": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Stuttering": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Like": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "billion": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Rather": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "ancient": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Audio": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "overdetermined": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "there.Â": [{"id": "06", "sentence": "aiming for the best of both worlds there.Â"}], "emitted.”": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "bit": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Gym": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "minus": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "Reinhold": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Jacques": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "1960’s": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "Netherlands": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Down": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "im": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "webs": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "15:00hrs": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "are": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "assemble": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "stereotypical": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Zee": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "arpeggios": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "annual": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}], "Arnhem": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "Tøyen": [], "rhythmic": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "cabinet": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}], "mythologizing": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "207": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "People": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "new..": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "2000": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "retro-for-retro": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "2": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "observed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "bouncing": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "JOHANNES": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "technological": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Class": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "sold": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Directorate": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "earlier": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}], "immediate": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}], "ever": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "rendering": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "astonished": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "ungraspable": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "moment": [{"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "generations": [{"id": "21", "sentence": "New generations are born."}], "long": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Gallium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "magazine/object": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}], "Never": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Along": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "album": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "Here": [{"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Goudron": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Elvis": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "foreign": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "delivered": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "travelled": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "interior": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "its": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "relation": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "vocalizing": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "investigative": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "S.L.Á.T.U.R": [], "clue": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "integration": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "history": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "name": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "Got": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "Next": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "complete": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}], "written": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "//monoskop.org/Concrete_poetryDE": [], "Autumnsong": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "construction": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Contemporary": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "Water": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "problematic": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Island": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "psychological": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "Changes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Tube": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "phone": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Get": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "FUSINATO": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "concerned": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "presented": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Easy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "organic": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Lee": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "leader": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "Kimmy": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "'Do-Re-Mi": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "contrary": [{"id": "06", "sentence": "Quite the contrary."}], "Alfie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Quo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Whitney": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "disciplines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Bet": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "tangibility": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "decades": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "Blackers": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "EVP.John": [], "periodic": [{"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "strength": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "I’m": [{"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}], "job": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "continents": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "Earth": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "active": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}], "geophones": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Chamber": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Esther": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Williams": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "light": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "reveal": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "//sydvarangergruve.no/produkt": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "great": [{"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "consumer": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "//vimeo.com/151283154": [{"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "showed": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "Seal": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Japan": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "displayed": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "ears": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "it’s": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "unfortunately": [{"id": "34", "sentence": "Julian unfortunately died at young age."}], "au": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "negative": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "South": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Gaudino": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "page_id=4869": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Duncan’s": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "Meanwhile": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Bünnagel": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "//animatednotation.wordpress.com/portfolio/stefan-smulovitz/": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "experiments": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "grahic": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "yourself": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "2016": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "genre": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "point": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Technocultural": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "harsh": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "forty": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "thousand": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "gain": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Silver": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Q": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "determining": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}], "comments": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "so": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Why so?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "failure": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "statistics": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "church": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "communicated": [{"id": "21", "sentence": "The cultural identity is communicated with this."}], "restrictions": [{"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "Miami": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "boat": [{"id": "28", "sentence": "You have to take a boat to get there."}], "alchemy": [{"id": "28", "sentence": "It’s a kind of sound alchemy."}], "alchemic": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "begin": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Mariah": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "autonomous": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "interventions": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "search": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "designer": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "short": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "full": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "virtuosic": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "indicator": [{"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "civil": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "dystopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "played": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "California": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "known": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "develop": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Lieven": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "blazing": [{"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "unceremoniously": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "seems": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "image.event": [], "Stefani": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Douglas": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "solfège": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "facets": [{"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "once": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "electric": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "combination": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "herman": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "operate": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}], "Murmansk": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "soldiers": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Billiam": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "boring": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "coordinate": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "-The": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "Katie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "19.Vector": [], "use": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "chemicals": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "0.08": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "unnoticed.”": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "consequence": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Beggin": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "distils": [{"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Bites": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "exact": [{"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "translated": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "culture": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "21", "sentence": "Subcultures form through music."}], "Finland": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "object": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Moving": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "basic": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "BUMA": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "finest": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "foreshadow": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "familiar": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "research": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "rhythm": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "lignite": [{"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}], "Kokmeijer": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "anyway.Â": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}], "sealed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "intermediary": [{"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}], "Beuys": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "Ylva": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Dream": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "recognise": [{"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "constructing": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "motion": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "volume": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "did": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "chants": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "HOLZER": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}], "kinetic": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "2015": [{"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "refuses": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}], "food": [{"id": "34", "sentence": "Good food and drinks were served."}], "Connecting": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "debut": [{"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Beyonce": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "truck": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "initiatives": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "dubplate": [{"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "consider": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Grant": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "stories": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "JODI": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "'s": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "nothing": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "risk": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Informed": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "2002": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "Paris": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "flushed": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "spectators": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}], "foundation": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "remain": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "All": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "lapidary": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "surrounding": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "transcriptions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "XXXIII": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Lieshout": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Hurdy-gurdy": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "glassplate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "Lopez": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "frakativ": [{"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}], "mathematical": [{"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "signature": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Geologists": [{"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "countries": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "brightness": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "cutting": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "urban": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "international": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "propensity": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "harmonic": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}], "visitors": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "friends": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "//17.piksel.no/": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "fits": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "TGC #3 fits right in."}], "wizardry": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "Chelsea": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "trillion": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "demonstration": [{"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "adviser": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "12”": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "to": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Heroes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "AMVK": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "relates": [{"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}], "October": [{"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "Giulia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "console": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "present": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Director": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "waste": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "radio": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "sourcebook": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "soundings": [{"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Participants": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "extra-musical": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "community": [{"id": "06", "sentence": "Join the community."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "staged": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "hold": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "'em": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "hour": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "67P/Churyumov–Gerasimenko": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Goodiepal": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "Carolyna": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "limit": [{"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Maxïmo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Gates": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "relentless": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "singularly": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "looked": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "input": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Circulaire": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "imagery": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Sundown": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "Ch": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "send": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "pulse": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "Until": [{"id": "07", "sentence": "Until i tried it."}], "monazite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Quite": [{"id": "06", "sentence": "Quite the contrary."}], "focuses": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "fields": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Kagel": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "enables": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "matters": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "commodity": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "cubic": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "Linkin": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "soundwaves": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Books": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "contributed": [{"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "led": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Gun": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "consisted": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "tangible": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "indicated": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Ecology": [{"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "Jamie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "asunder": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Darmstädt": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "infinite": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "presenting": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "toys": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "anticipate": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "upon": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "bullet": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Miles": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "living": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "derive": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Untitled": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "nonetheless": [{"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "Happen": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Half": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "time": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "multiple": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "file": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "in": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "bits": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "characters": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "tgarde": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Remörk": [], "thousands": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "principle": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "bold": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "Universal": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "begun": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "owner": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "reed": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Arduino-powered": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}], "impact": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "filling": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "DOUGLAS": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "22": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "better": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "proposed": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}], "waiting": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "Oil": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "predilection": [{"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Building": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Pong": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "Indium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "offered": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "vs": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "tenth": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}], "practical": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "wall": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "signals": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "right.Â": [{"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "humans": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "Rafael": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "Embodiment": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "■": [], "already": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "1982": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}], "theme": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "se": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "activated": [{"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}], "concrète": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "slurry": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "too": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "content": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "softwares": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "thermal": [{"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "undermined": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "below": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "Orson": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "tied": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "launched": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "record": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Magnetic": [{"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}], "sylvite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "that’s": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "1926": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "range.’": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "atmosphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "Armageddon": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "flapping": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Winnipeg": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "event": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "perfect": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "books": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "effectively": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "consciously": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "„": [], "catalogue": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Price": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "throughout": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Pi": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "activity": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "risk-free": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "expressive": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Atli": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "piksel": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "FL": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "2019": [{"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Hudgens": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "beginning": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "involving": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "temporal": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "provided": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "Schematics": [{"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}], "Body": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Knížák": [], "microphone": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "composition": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "didn": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "ten": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "combining": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}], "speculatively": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "finally": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "Vanessa": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "select": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "operating": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "works": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "date": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "approached": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "fraternises": [{"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "Visual": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "Battle": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "purposes": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "peculiarity": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "reader": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Vuksic": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Scores": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "doors": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "model—namely": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Nine": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "previously": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "real": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "spiders": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "expected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "interdisciplinary": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "Orm": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "meet": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "doesn": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "several": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "superiority": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "effectiveness": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "gave": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "well": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Amy": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "*": [{"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Zealand": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "Alex": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "transporting": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "could": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "curatorial": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "having": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "voices": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "FLOPPY": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "becomes": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "D.A.N.C.E": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "mystery": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Fratelli": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Groot": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "clarify": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "EVP": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "as": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "18:00hrs": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "portable": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "VECTORIAN": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Except": [{"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "missed": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "few": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Concretely": [{"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "1943": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "what": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "underground.’": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "inspiration": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "appropriates": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "soil": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "i.c.w": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}], "Aika": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "thought": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "curves": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "deconstruct": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "flattered": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}], "therefore": [{"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "interpretation": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "combined": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Together": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "SCORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "dynamic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "intently": [{"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "case": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Lewis": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "BLADEL": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "confection": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "You": [{"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}], "‘I’ve": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}], "rap": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Fusinato’s": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "metres": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "Java": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "amateurs": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "disturb": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "conditions": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Her": [{"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "Mitterrand": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "War": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "execute": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "auditive": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "processing": [{"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "conducting": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "eyes": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "runtime": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "heating": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Its": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Boy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "surface": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "Charlemagne": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}], "natural": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "choices": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "Navid": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "appearance": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "awareness": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "proposes": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "playback": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "2nd": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Developed": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}], "7th": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "included": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "relate": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "events": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "cantorum": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "question": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "unexpected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "birth": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "performance": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "especially": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Don": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "My": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "rise": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Heerlen": [{"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "Pfizer": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "cut": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "catalog": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Scarlet": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "punk": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "1999": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "Harpverk": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "before": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "descending": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Boxes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "tónsmiða": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "vital": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "Justin": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "increasing": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}], "booklets": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "or": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Cars": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "produced": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "representation": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "according": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "creates": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "...": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "Kirkenes": [{"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "lie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Catch": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Staal": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Gregorian": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "sonore": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "homage": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "German": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "ethicsWe": [], "Gourdon": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "nessecary": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}], "certainly": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Age": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "us": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Allen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "labels": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "mark": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "income": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "0.03": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "affecting": [{"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "desolate": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "DETUNING": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "manural": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "annunciatory": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "online": [{"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "VARIA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "clockwork": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "practitioner": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "Ellis": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "punch": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Ingi": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "boundaries": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Iraqi": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "train": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "At": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "zone": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "inhabits": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Thus": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "Are": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "rang": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "mystique": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "2013": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Make": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "core": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "holds": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "location": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "interesting": [{"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Johansson": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Graphic": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "advance": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "strata": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "workshops": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Angola": [{"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "truly": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "Why": [{"id": "06", "sentence": "Why so?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "contaminated": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Russia": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "sedimentologists": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "hotspot": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "representing": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "scoring": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "repetitions": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Haraldsson.Silence": [], "methodology": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "rises": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Reconstruction": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Sonifier": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "avant-gardists": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}], "BBC": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "original": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "evokes": [{"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Gunnarsson": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "nouveauté": [], "vehicle": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "reflective": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "ran": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Fabriek": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Reykjavík": [], "-There": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}], "reaction": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "Timberlake": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "teetered": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "technique": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}], "publicly": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "while": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "interwoven": [{"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "check": [{"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}], "ROZENDAAL": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "Autonomia": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "ranges": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Strings": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "myth": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "analog": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "thirteenth": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Connor": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "poured": [{"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}], "meaningful": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "noting": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "notable": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "ride": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}], "discussion": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "conception": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "het": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Bang": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "expert": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "took": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "frequency": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "frustrates": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "satisfying": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "NOV": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Tudor": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "Attali’s": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}], "himself": [{"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "recoding": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "Delacourt": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}], "notion—that": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "dance": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}], "corner": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "prints": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "blacker": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "animations": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "de": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "S": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Bring": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "floppydrive": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}], "150": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Sex": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "thanks": [{"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "They": [{"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "augmented": [{"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "interweaving": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "itself": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "‘SEQUENCER": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "magnetic": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "India": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "installed": [{"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "communication": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "U.N.": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "turned": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "„The": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}], "Things": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "got": [{"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "speaking": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "taught": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "tone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Dr": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "Layne": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Doing": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "misconception": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Remörk": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "Ball": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "l": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}], "Two": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "plays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "my": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "must": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Holloways": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Groupe": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "Touhou": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "entitled": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "Lostprophets": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "containing": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "otherwise": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "NOTING": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "Cathode": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Guðmundur’s": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "acoustic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "multidisciplinary": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "improvise": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "eight": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Bleed": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "treat": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "white": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "aan": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Anarchy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "close": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Queen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "flecked": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "sees": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "start": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "evolution": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "Now": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "pop": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "factor": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Only": [{"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Desecration": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "s": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Why so?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "colour": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "«": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "researches": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "minimal": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "mysterious": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "project": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "Scores.Guðmundur": [], "crystals": [{"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "Workers": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Tøyen": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "traced": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "‘Anitation’is": [{"id": "23", "sentence": "‘Anitation’is the term for animated notation."}], "Cyrus": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "frikativ": [{"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "FRANKLIN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "improper": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "Loaf": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Feldman": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "March": [{"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "AT": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "putting": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "sequencing": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "local": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "trace": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "cacti": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "re-vegetation": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Navajo": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "treated": [{"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Bones": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "CRUSH": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Counting": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Ayas": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "INFORMATIVE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "war": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "than": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Annette": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "later": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "exhausted": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "conflictual": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "aren’t": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "‘The": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "flutes": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Photo": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "beautiful": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Was": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "by": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "“instrumentalisation”": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "television": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "Sláturtíð": [], "Feist": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "curator": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "Due": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "chiptune": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "poster": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Maccabees": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "tetrahedrite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "find": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Sand": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "blanks": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "dissonance": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Adrian": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "inventors": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "lighting": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "Through": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "merely": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "business": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "tonality": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "glissandi": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Bünnagel": [], "counts": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "consequences": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "had": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Icelandic": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "think": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}], "against": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "28", "sentence": "If you work against it, it will kill you."}], "Andy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "073": [{"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "'dialectic": [{"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "gallery": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "sometimes": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Morning": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Choir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "woke": [{"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "investigated": [{"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "mode": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "ore.’": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Gawker": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "current": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "Athena": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "aural": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Grøn": [], "forsooth": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "shows": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "restriction": [{"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "things": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "receiver": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "peer": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "authentic": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "Poly-diso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "lifestyle": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "combines": [{"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "transposed": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "such": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Stockhausen": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "unchanged": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "representations": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "claimed": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "assess": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "passive": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "store": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "21:00hrs": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "starting": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "right": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "edge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "S.L.Á.T.U.R.": [], "arts": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "bushes": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "oral": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "Listening": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}], "ready": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "petalite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "sensor": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "dat": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "MIDI": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "language": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}], "Implosion": [{"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Stemra": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "connect": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Especially": [{"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}], "Kürten": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "projects": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "fragility": [{"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "closely": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}], "product": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "manufacturers": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Association": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "vibrations": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "examples": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "pare": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "transducers": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "phenomenon": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}], "de/nl": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Empty’": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "tried-and-failed": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "hand": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "founding": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "quickly": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Ward": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "allow": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "mountains": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "shooter": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "faster": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "doomed": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "Joost": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "met": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "interpretable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "loparite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "artists’": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "feed": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "fear": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}], "millions": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "exploration": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "explored": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Eamon": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "StÃ¥hl": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "tunnel": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "programs": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "No": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Know": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "serie": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "tradition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "This": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "reinterpretations": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "Luxembourg": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Patrol": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Throughout": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}], "originates": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "reminds": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "figure": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "source": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "death": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "re": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "synthesis": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "layers": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "been": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "environmental": [{"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "Clàudia": [], "remind": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "F": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "transmission": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "Maynooth": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Nguyen": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Spectral": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "Subcultures": [{"id": "21", "sentence": "Subcultures form through music."}], "van": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "“telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "computer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "packaging": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "New": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "21", "sentence": "New generations are born."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "sleeves": [{"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}], "-Oh": [{"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}], "precursor": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "killed": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "myself": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}], "floppies": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "condition": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "relay": [{"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "differently": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "regrets": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "21st": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Live": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "definitely": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "'Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Be": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "—": [], "8-INCH": [{"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "Tone": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "cooperate": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "metaphor": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "understood": [{"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "taken": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "e-warriors": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Fersteinn": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "explain": [{"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "authoritative": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "SOFTWARE": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "sylvinite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "land": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "music": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "AURÉLIE": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "geologists": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "cleaning": [{"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "hundreds": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "meaning": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "underlies": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "smart": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}], "cross-over": [{"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "park": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "York": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}], "Still": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "get": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "interpretations": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "metrostation": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "acts": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "ensure": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "//www.kreidler-net.de": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Europe": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "authority": [{"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "held": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "witchcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "logistic": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Zürich": [{"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}], "being": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "80": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "why": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "across": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "-With": [{"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}], "moments": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Program": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Þórðarsson": [], "asteroid": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Shins": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "vibratory": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "duck": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Arachne": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "octaves": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "interpreted": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "Cent": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Chasing": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "favor": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "established": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "partly": [{"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "intensity": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Tektronix": [{"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}], "elsewhere": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "participants": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "release": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "boss": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "MARTENS": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "RYAN": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Guide": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "identify": [{"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "details": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "ideas": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}], "downloadable": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "compactly": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "during": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "reality": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "Metropolis": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "programmed": [{"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Or": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "//www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "hours": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "important": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It is important for companies to manage this."}], "derived/transformed": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Lumiere": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "team": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "joyful": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "another": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "096": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "various": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "attuned": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "listened": [{"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Economy": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "Gerben": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Reich": [{"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "//www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "North": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Moana": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "privately": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Just": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "something": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "//www.deplayer.nl/releases/dob046-10-fersteinn": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "PRINCIPIUM": [{"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "Caput": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Finnendahl": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "nouveauté": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "turns": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "DJ": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}], "me": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Brianstorm": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "-I": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "echoed": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "colossal": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "amount": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "http": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Pu-shi-ng-Sco-res": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "accounts": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "TV": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "co-curates": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "González": [], "Eyes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Higinbotham": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "'musique": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Dan": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "selection": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "reading": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "A.O": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "processors": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "there’s": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "—": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "form": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Guðmundur": [], "milli-seconds": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "focusses": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "allowed": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "waves": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "easy": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "sharing": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "Fe": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "lapse": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "all-dominating": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "dialectical": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "modular": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "laserbeam": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "archiving": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "soundtrack": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "LINKS": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "retain": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "liked": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "turntablism": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "differences": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Emma": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "40": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "1500": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}], "blue": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "this": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "everything": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "Bob": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "windows": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "one": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "labour": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "animated": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "performing": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "nightmare..": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "Arnold": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "roster": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "Meaning": [{"id": "06", "sentence": "Meaning a record."}], "cheironomy": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "organized": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}], "access": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Cramer": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "delve": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "generated": [{"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "Fine": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Moog": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "talk": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "rest": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Ore": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "fascinates": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Nixon": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Then": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "muttering": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "now": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "tantalite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Smile": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "transitioned": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "2.9": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "sun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "'real": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "Signification": [{"id": "21", "sentence": "Signification also plays a major role in this."}], "bound": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "plan": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "lost": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "guest": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "Arachne’s": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "psycho-acoustic": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Peppers": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "VAN": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "enjoy": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "compiled": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "ongoing": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "V2": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "TGC": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Best": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "needed": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}], "Peri": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "mechanised": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "anti-social": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "resulting": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "different": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "focusing": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "gravity": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "PA": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "sound-art-collective": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}], "exhibition": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "hah": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "solely": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "Zen": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Zone": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "21st-century": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "sphalerite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "struggles": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "quartet": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "concentrate": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "Portugal": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "execution..": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}], "gather": [{"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "major": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "screaming": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "two-player": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "standpoint": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Shoulder": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "covers": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Na2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "iron": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "region": [{"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "underlying": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "exemplifying": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "explosions": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "‘correct’": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}], "PLAYER": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "introduced": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "Join": [{"id": "06", "sentence": "Join the community."}], "Saedier": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "splitting": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Ping": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "musique": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "Even": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "we’d": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "Keyboard": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "forming": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "broadcasts": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "out": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Bøtcher": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "body": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "whole": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "typography": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "20:30hrs": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}], "young": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "either": [{"id": "06", "sentence": "And that was never the question either."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Yuki": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "avoid": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Crush": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Buma": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "Wars": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Kylie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "cleave": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "emancipate": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "themselves": [{"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "self-education": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "political": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "transform": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Academy": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "Christmas": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "forms": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "Romanticism": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "cuts": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "useful": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "text-compositions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "etc": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "cases": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "exist": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "McFly": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "physically": [{"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "acclaim": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Soundsystem": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "education": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "memory": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "banal": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "21-04-2017": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "guitar": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Preachers": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Use": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "direction": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "fragile": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}], "sol": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "initiative": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "Calabria": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "nice": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Detmold": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "rhythms": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "holders": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "explores": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "populated": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "running": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "XPUB": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Jun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "kitchen": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "participating": [{"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "avant-garde": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "dedicated": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "chat": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "carrier": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "card": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Gilmour": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "controlling": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "affects": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "opens": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Silicon": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Seasons": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "//kraak.net/festival2017/artist/hiele-martens": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Strips": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "ways": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "aura": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "winds": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "statements": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "Darwinian": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "During": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "majority": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "co-curator": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "hematite": [{"id": "28", "sentence": "We can see layers of hematite."}], "clients": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "their": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "We": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "Vectorian": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "old": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "existence": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "counterpartner": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}], "effective": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "reassembled": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "surrounds": [{"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}], "articulated": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "poly": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "extreme": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "amplified": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "billions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "imagined": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "critical": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "elusive": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}], "discussing": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "Bad": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "pulses": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "mainly": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "Ana": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "pianos": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Starting": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "always": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "video-editing": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "capacities": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "S.L.Á.T.U.R.": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "artworks": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}], "Sugababes": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "embed": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}], "Brothers": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "NIEA": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "0.45": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "collaborates": [{"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "incorporated": [{"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}], "hrs": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "ARTKILLART": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "announcements": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "//www.kreidler-net.de/productplacements-e.html": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "try": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Kottke": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "TMIDI": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "floppy": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "sewing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "situation": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "off": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "questions": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Pasvik": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "Fergie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hard": [{"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "wealth": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Within": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "became": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "lathe": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "infers": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "between": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Weller": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "mine": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "detected": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Laposky": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "Jibbs": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "until": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Reijnoudt": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "09/09/2016": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "yielding": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Giovanelli": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Marc": [{"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "tempo": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "propose": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Greek": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "Transformation": [{"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "didn’t": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}], "layer": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "web": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "He": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "should": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "opposite": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "quietest": [{"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "four-in-a-row": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}], "lines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Shots": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "Press": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "possible": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "identity": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "Fil": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "performed.The": [], "purchased": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "notes": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "soundproof": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "columbite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "everchanging": [{"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "recordings": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "created": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "consisting": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "learning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "Design": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "LP": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "attention": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "can": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "turntables": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "write": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Johnson": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "manifest": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "underground": [{"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Delivery": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Mass": [{"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Akan": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "shift": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}], "formation": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "interest": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "passes": [{"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Dare": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "tenuous": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "paintwork": [{"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "Timbaland": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "evolve": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "toying": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "line": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "doesn’t": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "wailing": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "women": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "linear": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "Flenger": [{"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "he’d": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "abandoned": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Aksiom": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Moment": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "captures": [{"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "flat-on-your-ass": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Knierzinger": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "London": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "let": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Pieces": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "pirate": [{"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "the": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Lily": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "yet": [{"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "self-invented": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "There": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "performed": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "platform": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "spiderweb": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "belief": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Lætitia": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "Bringing": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "Razorlight": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "1963": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}], "transformation": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "January": [{"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Long": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Good": [{"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Acceptable": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Road": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Synthesis": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "technologies.The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Tom": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "unintentional": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Destination": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "manipulation": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "undergoing": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Chain": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Nordic": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ink": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Good food and drinks were served."}], "+": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Century": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "mutated": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}], "negatively": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "manifesto": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}], "'graphical": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}], "intended": [{"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "notation": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Later": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "12:00hrs": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "engine": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "auditory": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "spiderwebs": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Council": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Fri": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Institutions": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "transparent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "beamer": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}], "spirit": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}], "thesis": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}], "performer": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "tremolo": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "represent": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "support": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "result": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "eventually": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "intricate": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "deep": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "perspective": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Studio": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "engineered": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "theoreticians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "not": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "lives": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "musicians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "manual": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Attali": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Dashper": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "emissions": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "trying": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "asking": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "presentation": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "they’ve": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "small": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "efficiency": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "scary": [{"id": "28", "sentence": "That is quite scary."}], "soon": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Tungsten": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Sydney": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "block": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "musician": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "bequeathed": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "intense": [{"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "1970": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "initial": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "playability/repeatability": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Dearest": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Technology": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "audience": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "operational": [{"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "public": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "These": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "DOB": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "largest": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "College": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "immediately": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "chain": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "Gallery": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "Sweden": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Bocelli": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "XPUBPiet": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Perfect": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "term": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "Tonight": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "day": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "simple": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "continually": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "downloaded": [{"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "sounds": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "shape": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "magazine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "reduced": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}], "Nuur": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Do-Re-Mi": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "provide": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "endurance": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "engraved": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "His": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "interface": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "\\": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "influence": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "DUPAC": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "splicing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "GUEDES": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Duncan": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "samplers": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "smaller": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "rests": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "circumstances": [{"id": "28", "sentence": "Were they forced up North by circumstances?"}], "didactic": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "bnamed": [{"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "modified": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}], "renewed": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "Video": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Mar": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "incipience": [{"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "connects": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Than": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "July": [{"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}], "registers": [{"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "burned": [{"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "ended": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "followed": [{"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "0.053mm": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "overall": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "limbo": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "Office": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "colourful": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "Wi-Fi": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}], "media-technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "level": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "stream": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "unique": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Song": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "commodities": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "failed": [{"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "inspirations": [{"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "working": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "minutes": [{"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}], "galleries": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}], "0.35": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Our": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "I’ve": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "//www.bmbcon.demon.nl/justin/": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "Dykeenies": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "programmer": [{"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}], "switch": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "whether": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "time.”": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}], "looking": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "John": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "machine": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Crash": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "impossible": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "anymore": [{"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Úlfar": [], "PU-SH-ING": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}], "analogue": [{"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}], "JUSTIN": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "coding": [{"id": "10", "sentence": "A sort of live coding."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "narratives": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "records..": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "models": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "mid-1980s": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Casio": [{"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}], "23h": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "Simpson": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "1990s": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "pattern": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "muted": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "composed": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "gold": [{"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "bodily": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "Rapsodia": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "brainwaves": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "million": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "vinyl": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Davide": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "video": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "lend": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "projections": [{"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "enhance": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "flip": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "Experimental": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "theories": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "Barkley": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "relative": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Glasgow": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "information": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "hell": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "colours": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Lennox": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "transformed": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "promoting": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "'instrumentalisation": [{"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "gives": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "hidden": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "potential": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "rather": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "amazing": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "done": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "served": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "Metrostation": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "year": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "without": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Is": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "accompanied": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "pt": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "occasionally": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Well": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "casts": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "Maashaven": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}], "national": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "intelligible": [{"id": "23", "sentence": "That way the most irregular things can become very intelligible."}], "subsequently": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "spilling": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "made": [{"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "E-ARTHHA": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "Bottle": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "snow": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "linked": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "million-note": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Fricatives": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "functioning": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "subject": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "format": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Above": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "place": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Vasukas": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Since": [{"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}], "arranged": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "production": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "recorder": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Universiteit": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Via": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}], "24": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "appeared": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "sent": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Stone": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "drinks": [{"id": "34", "sentence": "Good food and drinks were served."}], "equipment": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "paper": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "appealing": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "//www.slowempty.com/": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "Kris": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "empty": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "compensation": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "limited": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Milan": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "practitioners": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "satisfy": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "François": [], "Bowtie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "list": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "files": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "tools": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "'m": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "associate": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Portapak": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "M.": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "sounding": [{"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "keeps": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "Tokyo": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "‘Greatest": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "WITH": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}], "responsible": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "researching": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "relevant": [{"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}], "Innovation": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "1962": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "methods": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Using": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "Where": [{"id": "28", "sentence": "Where does mining stop?"}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "collaborated": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "workshop": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Nevertheless": [{"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}], "Vincent": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "flying": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "yes": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "pitches": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "years": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "proces": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "rainbow": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "able": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "counselor": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "REMCO": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "ArtEZ": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "fa": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "purposes.": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Hot": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "he": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "distribution": [{"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "preparations": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "cheironmy": [{"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}], "silk": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "mistakes": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Could": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "man-made": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "network": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}], "symbolise": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "whose": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "cards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "de-mass-splintering": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "authorship": [{"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "multi": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "informed": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Guðmundur": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "JAKOBSON": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "meeting": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "richer": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "spinning": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "costumer": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "algorithmic": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "analogous": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "investigate": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "couldn’t": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "pure": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Willem": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "Master": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "forced": [{"id": "28", "sentence": "Were they forced up North by circumstances?"}], "nonsense": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "Gamma": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "within": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "uploaded": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "springs": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "senior": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "generate": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "usually": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "almost": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "Adagio": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "ambiance": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "remix": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "compositions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "tailings": [{"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "distinctive": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "nomadic": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "But": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "tool": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "when": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "publishing": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "worlds": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "places": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "Plasticism": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "THE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Italy": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "Steve": [{"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "mythology": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "wrong": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "large": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "fabulation": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "Schematic": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}], "Beginning": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hosting": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "hardiest": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "label": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "credibility": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "depends": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "Hanover": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "m": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "-Julia": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "organization": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "reverence": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "internal": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "dots.Â": [{"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "Wrote": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "tones": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "surroundings": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}], "0.15mm": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "64-bit": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "fixed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "Foo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "dots": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}], "connections": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "formula": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "SEQUENCER": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "www.DeepL.com/Translator": [{"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}], "needs": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}], "'conceptual": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "broader": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Hang": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "With": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "outsourcing": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "Tin": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Cascone": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "d": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "set": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "inputs": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}], "individually": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "“analogous": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "JULIA": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "Wall": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "co-founder": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "registers.”": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "quietude": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "absent": [{"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}], "liberation": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "Drama": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "Music": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "striking": [{"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "Iannis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Inspiration": [{"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "Timidity++": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "apparatuses": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "graphic": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "'prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "RAFAËL": [], "void": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Brookhaven": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "newly": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "promise": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "styles": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "fragments": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Husk": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "laser": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "essay": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Marco": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "be": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "hard-": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "Subotnik": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "law": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Produced": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Arachnes": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "octave": [{"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "strictly": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "Jan": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}], "awesome": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}], "grew": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "BY": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "archive": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "electronics": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Groothandelsgebouw": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "republished": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}], "has": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "ethos": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "conducted": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "audible": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "speed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "artist": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Franklin": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "rockets": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "others": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "come.Concrete": [], "really": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "culminating": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "waveform": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "machines": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "Moholy": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "exceeded": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "Novalis": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Figures": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "image": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "int": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Star": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Yukki": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "onorthodox": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}], "Koopa": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Defne": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "Grøn": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "CaO": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Steal": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Manhattan": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Status": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "instruction": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}], "notion": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "reproduction": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "trains": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "beam": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "That": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "That is quite scary."}], "organ": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "problem": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Kagel’s": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "dot": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "conveyed": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Rotterdam": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "HOOF": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "founder": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "state": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "TUNING": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "Con": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "ve": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "micro": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Emeritus": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "principles": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "Aux": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "publication": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Sonic": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "frequencies": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Keersemaker": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "sic": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "roll": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Slow": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "Devil": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "RAM": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Kreidler": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Out": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "WE": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "instrumentation": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "fast-paced": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "noisette": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "TELCOSYSTEMS": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "perception": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}], "our": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "more": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "partners": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "static": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "controlled": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "inch": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "example": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Shot": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "switches": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "Amongst": [{"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}], "runs": [{"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "Synthesia": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "range": [{"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "totally": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "finding": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "continuïty": [], "Leona": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "rough": [{"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Cupid": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Booty": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "complicated": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Martens": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "‘Far": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Justice": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "hat": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "resolutely": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Gwen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Before": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "French": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Sveinbjarnardóttir": [], "TheTrustedComputer": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "umhverfis": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "work": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "unrelated": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "predictable": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "artists": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "tonewheels": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "combine": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "north": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "brutal": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}], "site": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "Hurk": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "Artists": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "mapped": [{"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}], "composers": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Baby": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "incentive": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "mi": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "CAPITALISM": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "mobile": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "1960s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "'Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "documentary": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "Elliot": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "go": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "based": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "'Rock": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "seek": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "processing.’": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "downloadable4–": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "Näätämö/Neiden": [{"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "intimate": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "partiture": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "ongoingness": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "color": [{"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "VAGUE": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "variety": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}], "Babyshambles": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "vehicles": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "game": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "acousmatic": [{"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "structural": [{"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "Maurice": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "agree": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "SYNTHESIS": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "Piringer": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "since": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Principium": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "wifi": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "Empty": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Michael": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "November": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "traditional": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Memory": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "second": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Dark": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "ago”": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "ut": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "experiment": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "scontemporary": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "505": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "draw": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "bigger": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "//xpub.pzimediadesign.nl": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}], "Sonology": [{"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "LED": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "PureData": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "setup": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "conventional": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "copier": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}], "poetry.George": [], "submit": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "consciousness": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "delacourt": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}], "subversive": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "12": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "famous": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "way": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "overwritable": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}], "TERRAIN": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "electronic": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "innovative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "stochastic": [{"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "two-stave": [{"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Vector": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Dancing": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "unveil": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "finished": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}], "reformulation": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "//www.newrafael.com": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "twelve": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "18": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "17.00": [{"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "visible": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Roberto": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Kuro": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "civilization": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Spreeuwenberg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "dirty": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "avant": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "sooner": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "FI": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "arriving": [{"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "Liar": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "‘If": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "references": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Ellis-Bextor": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Go": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "FLORIS": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "many": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Some": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "on": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "SKAR": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "rehearsals": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "graphics": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "appointment": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "Publishing": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Super": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "tried": [{"id": "07", "sentence": "Until i tried it."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "afraid": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}], "don’t": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don’t feel this record has that."}], "solfège": [], "repeat": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Wombats": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "window": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "schools": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "chosen": [{"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "doing": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "head": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "optical/sculptural": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "lays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "PU-SHI-NG-SCO-RES": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "four": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}], "Lissajous": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "brought": [{"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "imagination": [{"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "creating": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "isn’t": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "periods": [{"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "believe": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "read": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "DEREK": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "contemplation": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "Lasha": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "8th": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "future": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "facade": [{"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}], "programmable": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}], "Producer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Colbie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "is": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "recognize": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "take": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "regarding": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "Sophie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "two": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "tapestry": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "happened": [{"id": "06", "sentence": "So that’s what happened."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "What shifts happened in the past?"}], "Cold": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "dancers": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "WORM": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "filmmaking": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "Focussing": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "sticking": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "shorter": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}], "collective": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "horizon": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "writings": [{"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "//macumbista.netType": [], "traditions": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "considered": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "receiving": [{"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "entities": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "Andrew": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "imagining": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "plastic": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}], "Rivière": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "digital": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "executive": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "ecology": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "first": [{"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "exposed": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "scarsely": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "standardized": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "mill": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "detail": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "at": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "gaffs": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "waveforms": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "Zac": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Vasulka": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Wolfsberger": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Owen": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "10”": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "perspectives": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "ascending": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "flow": [{"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "MIDIPlayer": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "harbour": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "flawed": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "winter": [{"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "//harddisko.chevent": [], "Grinder": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "HELGA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "displays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "MIDIs": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Rozendaal": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "hospital": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "‘Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "staff": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Antwerp": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "History": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "Helga": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "strange": [{"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "fjord": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "STRIPPED": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "spontaneity": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "0.30": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "'Principium’": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "emitted.": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "connected": [{"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "Blue": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Clock": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "poetic": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}], "path": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}], "prompting": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "freely": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "info": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Reykjavík": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "digitalcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "happy": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}], "6": [{"id": "01", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "extent": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "Buchla": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "Jaðarber": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "sum": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "27": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "destruction": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "explosion": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "printing": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "ISSTC": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "sale": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "'spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "straight": [{"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "ingenious": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "Anne-Mie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Bas": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Samuel": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "mountain": [{"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "percentage": [{"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Foals": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Western": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}], "'si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "size": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "intertwine": [{"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "six-notes": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Research": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Canadian": [{"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "practices": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "it.FERSTEINN": [], "mangled": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "mellotron": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "chunks": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}], "there": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "//www.deplayer.nl/releases/dob079": [{"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}], "similar": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}], "Heinz": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "stasis": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "prophetic": [{"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "goes": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Don’t": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}], "exercise": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Void": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "released": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "sensors": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "software": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "often": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "era": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "It are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Fengler": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "withdrawal": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "defective": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "servant": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "situations": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "Axle": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "existed": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "occurrences": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "expressions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "eaten": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Þórðarsson": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Sadier": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "match": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "press": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "hacking": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "Artez": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "economy": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "sit": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "embodied": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "into": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Teddy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "electro-instrumental": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "extended": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Julian": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "title": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "accessible": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Caribbean": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "device…": [], "Xerox": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}], "were": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}], "roles": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "sequencers": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Bute": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "GRM": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "challenged": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "restricted": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "idea": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "facing": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "using": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "new-media": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "copy-run": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "lepidolite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "092": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "mind": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "denies": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "booklet": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "hopefully": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}], "surrealist": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "breakers": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "camera": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "logical": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "AEX": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "regular": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Gudmunder": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "hearing": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "magnet": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "movement": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "‘We": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "beautifully": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "Those": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "shit": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "listener": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}], "virtual": [{"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}], "engaged": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Charlotte": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "normally": [{"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Piksel": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Rare-earth": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "aka": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "eg": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "arises": [{"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "lavender": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "started": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "improv": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "pinning": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Art is not pinning things down."}], "eliminate": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "usual": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "data.perseus.org/citations/urn": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "perfectly": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "six": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "1991-1993": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Rafaël": [], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "Darmstädt": [], "own": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "June": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "bastnäsite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Blag": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sunfreakz": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Uniting": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Mn": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "offer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "asserts": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "Bigger": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Cage": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "under": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "top": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "darkened": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "interweaves": [{"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "ground": [{"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Need": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Potassium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "SynthFont": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "chapter": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "Pliny": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "of": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "scores": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "absence": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "Nilsen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "Sony": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Soulja": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Tonewheels": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "perfectly.Â": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "isn": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "Capitalism": [{"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "sure": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Hits": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "animals": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "enlarged": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "matching": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}], "sequentially": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "frame": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "enormous": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "VANHOOF": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "worker": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "trapped": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "act": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Musikin": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "archival": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "processes": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "and": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something hat makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Pushing": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Description": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Bear": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "disappearance": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "Schaeffer": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "funny": [{"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "aal": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Writers": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "delicate": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "Stereolab": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "Initially": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "searching": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "earth": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "night": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Ayo": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "conceptualization": [{"id": "13", "sentence": "The conceptualization, the funding, the execution."}], ".Â": [{"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "sticky": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "De": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Translated with www.DeepL.com/Translator"}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org ■ XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Theater": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "Sagamihara": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "publicly-playable": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "considering": [{"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "planned": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "Los": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Ireland": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "arachnids": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "George": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "-Kris": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}], "experience": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Anthem": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "guy": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "count": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Wait": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "produce": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "p=72": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Sat": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Seeley": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "setups": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "-century": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "‘from": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "Flintstone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "WiFi": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Barbie": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "sheet": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "materialised": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "juxtaposition": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "railway": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "seeking": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Fratellis": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "There’s": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "Sunblock": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "configurations": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "That’s": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "makers": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Ca": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Jordanaires": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Samanda": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "confined": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}], "develops": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "Courteeners": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Park": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "vast": [{"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}], "Berlin": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "sound-text": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "stop": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "28", "sentence": "Where does mining stop?"}], "programming": [{"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "Source": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "radically": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "soundtracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "'game": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}], "Development": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "testing": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "trained": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "score”": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "copies": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "Break": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "grids": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "behind-the-scenes": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Belgium’s": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "might": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "NL": [{"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}], "technologies": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "tracing": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "hip": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "instrument": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "sites": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "2012": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "inches": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "Fremdarbeit": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "baleful": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "“Necrofantasia”": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "kid": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "specifically": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Jason": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "they’re": [{"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "ignores": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}], "Uses": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "need": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}], "Dust": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "videos": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "Jürgenson": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "counterparts": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "implications": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "Jakobson": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "tactility": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "Poly-diso’": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "Arezzo": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "value": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}], "'re": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "Software": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "stands": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Pricipoium": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "instance": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "lure": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "parks": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Incorporated": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "IRREGULAR": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "central": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Boogie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "seismic": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "words": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "leading": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "II": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "//www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz": [], "intensified": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "disturbances": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "remoteness": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "sets": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "no": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "s-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "Rumble": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "settle": [{"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "Tyfus": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "splatter-chords": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "They’re": [{"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "environment": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "European": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "What": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "Chico": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "lecture": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "slow": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "decide": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "text": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Alps": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "filtering": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "3": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": " Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "homes": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "silos": [{"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "detuning": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "utopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "‘Fricatives’": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "NY": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "generator": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "Transylvania": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "builder": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "teacher": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "thick": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "relationship": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "provocative": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "uses": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "As a composer funny enough Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens ■ HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "represents": [{"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "ART": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "computer-derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "part": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "greenhouse": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Jamelia": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "displacement": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "VanHoof": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "execution": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "wolframite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Iron": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "sonar": [{"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}], "only": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "draws": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Knowledge": [{"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "1983": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Piano": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Whole": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Big": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "days": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "American": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "spits": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Albert-Ludwigs-Universität": [{"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "Børup": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Huelkorven": [{"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "affective": [{"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "feeds": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "Klangwerkstatt": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "document": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "inspirational": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "Multilingualism": [{"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}], "079": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}], "interests": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "//www.remcovanbladel.nl/": [{"id": "04", "sentence": "http://www.remcovanbladel.nl/"}], "pit": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "1.0": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}], "activities": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Crank": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Hilkmann": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "me.’": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "graphical": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "differ": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Bennett": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "publising": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "people": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Not": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "won": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "attempts": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "medium": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "sound+image": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "Band": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "August": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Away": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "WIELS": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "flop": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "Start": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "When": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "//www.deplayer.nl/releases/tetra-gamma-circulaire-3": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "refining": [{"id": "28", "sentence": "I’m always processing and refining my field recordings."}], "good": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "permission": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "hated": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "Telcosystems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "abusive": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "performers": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Goddess": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "imaginary": [{"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "self-structuring": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "Bing": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "specialised": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "hypnotizing": [{"id": "07", "sentence": "It’s strangely hypnotizing."}], "discussed": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "Bologna": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "installations": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "Cowboy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "processor": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "Baxter": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Type": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 Jyly 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "companies": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It is important for companies to manage this."}], "overlapping": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "den": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Â": [{"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?  -There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?  -I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "  -I do look at it as a solo thing."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway.  I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "aiming for the best of both worlds there.Â"}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}], "multidimensional": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Pay2Print": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "debut..": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "share": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "change": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "edited": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "physics": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "utilizes": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "multimedia": [{"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "noise-guitar": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Holiday": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "headphones": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "Cherry": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "narrow": [{"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "filters": [{"id": "28", "sentence": "I apply filters, use electronics."}], "“Resonanz": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}], "aestheticized": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Avenged": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "letting": [{"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}], "widest": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "settings": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "instrument-builder": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Carl": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "taking": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "Filmmaker": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "interactive": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Public": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lies": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Fylkingen": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com ■ JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Kim": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "includes": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Friedrich": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "science": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Ultima": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "remco": [{"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}], "anything": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}], "1989": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "entrepreneur": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "shaped": [{"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "practise": [{"id": "22", "sentence": "Good practise for the ears."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "surround": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Wallgallery": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "Steel": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "samtök": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "time..": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}], "duration": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "pieces": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Sandin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "deterministic": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Lithium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "agreed": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "system": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "extra": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "youth": [{"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}], "single": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "plants": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "numerous": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "feedback": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "graduate": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "prostitute": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "Feat": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "editing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "sampled": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "all": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?  -Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?  -Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly.  >When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "force": [{"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Second": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Aguilera": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "blank": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Lisa": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "rhythmical": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "manifesting": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "so-called": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "demo": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ ■ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "introducing": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "defined": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Remark": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}], "searched": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "editorial": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "“..a": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "behind": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Moniker": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "’": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Office material really, those colourful little dots.  What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no.  >Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?  -The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well.  But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "They’re just new pieces in their own right.  Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control.  >The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?  -I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "This ‘other way’ around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "■ HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.  Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs).  A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.Â"}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018. ‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva StÃ¥hl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018. ‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "performative": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "choir": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "guideline": [{"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "beats": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "exploring": [{"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "investigation": [{"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "then": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Or as a collage record?  -If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Give": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "discuss": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Miley": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "12-vinyl": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time.  But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}], "Gingeas": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "hah.Â": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah.  The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "Varia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Mathias": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": " From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Una": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "famously": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Want": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "pictures": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "operation": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "https": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017 publication: title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}]} \ No newline at end of file +{"action": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "represented": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Pliny": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "happening": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}], "horizontal": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "requires": [{"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "remain": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "safer": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "Pasvik": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "complementary": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Rafael": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "PureData": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "installation": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Régine": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "avant-gardists": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}], "reinterpretation": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "every": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "207": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "performances": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "seventies": [{"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "programs": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Tone": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Musikin": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "father": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "sensitivities": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "arrives": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Max": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "West": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "poetry": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "Funny": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "United": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "you": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "believe": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Sean": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "084": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "cts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Fri": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "nice": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "as": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "exemplifying": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "samplers": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "manual": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "2.9": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "compiled": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "Experimental": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Home": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "scar": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "That is quite scary."}], "presence": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "ideas": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}], "Duncan": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Ones": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "interpretation": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "interior": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "both": [{"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "minutes": [{"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}], "affective": [{"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "buildings": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "slivers": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Aksiom": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "accounts": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "kill": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "consequences": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "purposes.": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "noting": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "matters": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "Artez": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "days": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Adrian": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "again": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "facing": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "CAPITALISM": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "instrumentalisation": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "web": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "implosion": [{"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "earliest": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "darkened": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Gerben": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "timbres": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Q": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "residence": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "MARCO": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "reciprocity": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}], "configurations": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "repeat": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Dr": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "perhaps": [{"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "page_id=4869": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "basis": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "belongs": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Academy": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "modern-day": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Back": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "front": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "initiatives": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "notation": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "remind": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "curatorial": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "GUEDES": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "commercial": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "approaches": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "letter": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}], "regard": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "bastnäsite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "electro": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "taken": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "inscriptions": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "discussion": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "friends": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "stochastic": [{"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "Jovi": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "likened": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "allegorical": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "faster": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "bars": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "tradition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "//pubs.usgs.gov/gip/0167/gip167.pdf": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Ai": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "under": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Donaghy": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "tribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "Instead": [{"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "released": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Bouwman": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Traffic": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "radically": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "multiple": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "pre-digital": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "Timberlake": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "Alex": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "shift": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}], "bridge": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "founders": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "upon": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "magazine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "aestheticized": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "invited": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "audio-visual": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "Where": [{"id": "28", "sentence": "Where does mining stop?"}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "majority": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "keyboard": [{"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}], "floppyesk": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "eight": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "Vincent": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "itself": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Hopi": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "Waters": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "flaws": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}], "arbitrary": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "sticking": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "besides": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "spiderweb": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "1982": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}], "changes": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "International": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "publicly": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "civilization": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "morse": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}], "URL": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "isn": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "person": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "North": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Williams": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Crystal": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "theories": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "industry": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "refusing": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "definitive": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "text-sound": [{"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "play": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Piringer": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "covers": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "actors": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "Holloways": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "kilometers": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "arises": [{"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "repetitions": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "poésie": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "interpretations": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "misplaced": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "money": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "Laboratories": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "coverage": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "pdf": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "throughout": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Foo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "March": [{"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "window": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "perfect": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "founder": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "capturing": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "Fighters": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "collectively": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "programming": [{"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "either": [{"id": "06", "sentence": "And that was never the question either."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Goodiepal": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "sensor": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "respective": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "Derek": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "mines": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "gray": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "determine": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Nevertheless": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}], "allow": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "organizing": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "Records": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "30": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "apparatuses": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "images": [{"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "pirate": [{"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "chamber": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "superiority": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Hague": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "technician": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Rare-earth": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "inspirations": [{"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "lasting": [{"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "listener": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "goal": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "come": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "various": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "inventors": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "booklets": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "Debatty": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "everything": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "Ultra": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "FI": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "gain": [{"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Adapter": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "rigorous": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "transformed": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Dust": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "online": [{"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "different": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "need": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}], "sequencing": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Spider": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "1979": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "himself": [{"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "settle": [{"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "Studio": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "myths": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "rather": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "//animatednotation.wordpress.com/portfolio/stefan-smulovitz/": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "frikativ": [{"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "whose": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "failures": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "iron": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "even": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "demonstrating": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "//harddisko.chevent": [], "god": [{"id": "24", "sentence": "“Before god needed to be invented there were man."}], "monazite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tendencies": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "interfaces": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "funnily": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "labels": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "primarily": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}], "Blossom": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "GEMA": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "although": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "station": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "surrealist": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "pinning": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Art is not pinning things down."}], "Transparent": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "constraint": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "relate": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "speakers": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "everyday": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "looked": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "tactics": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}], "DAAD": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "computational": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "vinyls": [{"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "too": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "example": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "refined": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "unnoticed.": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Cat": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "punch": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Tielemans": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "24/03/2017": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "theoreticians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "history": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "solely": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Stockhausen": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "wifi": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "mark": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "1234": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "traced": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Mining": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "Off": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "bookbinding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "researcher": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Lonely": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Britton": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "augmented": [{"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "noted": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "footage": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "at": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "bunch": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "filling": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "'Rock": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "superstructure": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "expansion": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "ungraspable": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "tools": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "keep": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "duck": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Location": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}], "features": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "elsewhere": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Allen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "20": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "annunciatory": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "mainly": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "Clàudia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "after": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Geologists": [{"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Partiro": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Association": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "interdisciplinary": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "game": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "floppy": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "Most": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "meet": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "VAGUE": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "bodies": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Contemporary": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "Photo": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "O": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "WHO???"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "WHO???"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "WHO ???"}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "soldiers": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "8-INCH": [{"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "chain": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "water": [{"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}], "Small": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "stones": [{"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "won": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Happen": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Description": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "catalog": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "-I": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "temporal": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "reproduction.Jacques": [], "tangible": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "electromagnetic": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "sound+image": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "capacities": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Without": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "rehearsals": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Giulia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "-There": [{"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}], "raster": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "trelations": [{"id": "24", "sentence": "I think silence has that same trelations with music."}], "Maccabees": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "viewpoints": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "//animatednotation.com/Steinn.html": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "fitted": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}], "occurs": [{"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Loaf": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "professional": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "currently": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "tape": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "mental": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "cleaning": [{"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "exchanges": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "poster": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "end": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Margreet": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "current": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "Uniting": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "actually": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Groot": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "middle": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Lewis": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "spot": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "scary": [{"id": "28", "sentence": "That is quite scary."}], "block": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "competition": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Peri": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "93": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "pitfalls": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "drone": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So more drone, definitely."}], "century": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "attempts": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "silos": [{"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "catalogue": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "backgrounds": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Analog": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "sets": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Creation": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "collaboration": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "January": [{"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "loparite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "moment": [{"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "developed": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Him": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "History": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "vector": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "Fabriek": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Hurk": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "California": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "hell": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "roofs": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "spectators": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}], "ever": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "building": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "AURÉLIE": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Bergmark": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "trained": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "unwanted": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "extensive": [{"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}], "light": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "winds": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "responsible": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "Charlemagne": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "song": [{"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "s-sake": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "arrive": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Everything": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "Greek": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "general": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "million-note": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "leading": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "methodologies": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}], "Multilingualism": [{"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "near": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "8.00": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Away": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "cooperate": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "unusable": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "perceptions": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "logistic": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "spits": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "Come": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "doubts": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}], "senior": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "essay": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Miles": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "record": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Sculptress": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}], "30.000": [{"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "new-media": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "framework": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "fabulation": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "Day": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "deskilled": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Guetta": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "modified": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}], "stickers": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "coded": [{"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "quickly": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "billion": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "how": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "remotely": [{"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "built-in": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "straight": [{"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "bnamed": [{"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "composer": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "impressions": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "lighting": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "linked": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "downloadable": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "Smile": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "During": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "concerned": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "each": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Professor": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Browne": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "comprise": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "universal": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}], "fascinate": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "giving": [{"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}], "Barkley": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "End": [{"id": "06", "sentence": "End of piece."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "lignite": [{"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}], "Harpverk": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "manural": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Wijk": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "translate": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "ranges": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "defective": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "October": [{"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "imagery": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "sign": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "tactility": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "base": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "institutional": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "Weller": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "contemporary": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "evoking": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "flapping": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "rang": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "deliberately": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "immediate": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}], "Feat": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "access": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "ágengra": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "Kris": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "embarrassment": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "e-warriors": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "above": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}], "slambanken": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "Guillemots": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "influential": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "function": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "Counting": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "PU-SH-ING": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}], "submitted": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "underneath": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Dashper": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Polyphonic": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "//www.deplayer.nl/releases/tetra-gamma-circulaire-3": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}], "Razorlight": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "defined": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "relationship": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "inviting": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}], "Christian": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "famously": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "touchpads": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}], "others": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "inspiring": [{"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}], "Graphics": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "input": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "displays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "Big": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "improvisation": [{"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "visitors": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "Water": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "aids": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "intertwine": [{"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "coordinate": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Call": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "unrelated": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "real": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "served": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "matching": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}], "shifting": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "Signification": [{"id": "21", "sentence": "Signification also plays a major role in this."}], "sound-art-collective": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}], "Data": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "You": [{"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}], "Akan": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Does": [{"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}], "truly": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "People": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Buma": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "compositional": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}], "dissonance": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "explore": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "representation": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Founding": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "drop": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "metals": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "multimedia": [{"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Witt": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "engineer": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "reference": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Ziolkowski": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "didn": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "gone": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "away": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "certain": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "Capitalism": [{"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "TheTrueEnd": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "practitioners": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "satisfy": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "agree": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "-Not": [{"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "POLY-DISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "2000": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "counterpartner": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}], "believes": [{"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "Slow": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "strongly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "mythologizing": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "noises": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "so": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Why so?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Arezo": [{"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "ROSS": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Hohti": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "0.05": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "huge": [{"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Portapak": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Klafferi": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "connected": [{"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "with": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "break": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Except": [{"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Niek": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "comprises": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Orson": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lies": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "frakativ": [{"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}], "number": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "ultimately": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "rises": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "concept-": [{"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}], "them": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Oil": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "parks": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "prices": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "June": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "'s": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "pt": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "time.": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "Holiday": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "splatter-chords": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "silence": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}], "sequencers": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "President": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "emancipate": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "extra-musical": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "guide": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "value": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}], "will": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "celebrated": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "mediators": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}], "audiovisual": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "NOV": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "delivered": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "HOLZER": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "contrary": [{"id": "06", "sentence": "Quite the contrary."}], "moths": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Via": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}], "it": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "body": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "cliché": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "fr": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "laser": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "foremost": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Status": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "plagiarize": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "multi-instrumentalist": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "Giovanelli": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "REMCO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "understood": [{"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "essentially": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "12": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "VARIA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Agenda": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "dissent": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "counselor": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "operational": [{"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Berlin": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "Lieven": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "followed": [{"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Sozzi": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "SYNTHESIS": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "forth": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "may": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "Knížák": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "notes": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Product": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "adhering": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "abusive": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Meaning": [{"id": "06", "sentence": "Meaning a record."}], "constructing": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "reception": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "want": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "ignores": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}], "articulated": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "organized": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}], "title": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "non-existent": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "Furtado": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "A.O": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "music": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "readable": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "MUSIC": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "decade": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "Implosion": [{"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Blunt": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "entrepreneur": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "nicely": [{"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}], "Tell'em": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "formations": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Be": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "needs": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}], "exploitation": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "pitch": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "Shot": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "amplitude": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "joyful": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "Clumsy": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Strips": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "soon": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "totally": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Koos": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}], "instrument": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Boy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "urban": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "program": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "facade": [{"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}], "Enrique": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "famous": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Angel": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Queen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "foreign": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "[": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "dirty": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "guess": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}], "his/her": [{"id": "09", "sentence": "Each student could design his/her own project on this medium."}], "yes": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "24.00": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Price": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "strictly": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "assemble": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Catch": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "brutal": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}], "hardiest": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "settings": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Cherry": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "begin": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "operates": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "'re": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}], "dystopian": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "thus": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "octaves": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "emotional": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "honest": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "gives": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "gravity": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "gaffs": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "nature": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "inventive": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "file": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "mechanized": [{"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "statistics": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "clockwork": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "Kahn": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}], "historical": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "decision": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "enrolled": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "Closer": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "manifesting": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "yourself": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "//sydvarangergruve.no/produkt": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "First": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}], "generations": [{"id": "21", "sentence": "New generations are born."}], "challenge": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "collaborated": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "tasks": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "industries": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "serving": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "traditions": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "sky": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "give": [{"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "beautiful": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Transit": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Handelsgebouw": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "standpoint": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "information": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Detmold": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "consistently": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}], "authoritative": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "controlling": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Change": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "small": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Oostzijde": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "sees": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "Studies": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "joined": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "community": [{"id": "06", "sentence": "Join the community."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "demonstrations": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "share": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "response": [{"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "equivalent": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "musician": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Sundown": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "beat": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "case": [{"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "choral": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "coin": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "favor": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "original": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "musique": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "pages": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Cramer": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Leona": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ink": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Another": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "Durante": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "medieval": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Crumb": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "Guðmundur": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "ask": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "regrets": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "Joseph": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "Concretely": [{"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "Ståhl": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "narrow": [{"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "finding": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "certainly": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Johannes": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "levels": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}], "Snow": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "journalists": [{"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "honourable": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}], "rising": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "worrying": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "Cowboy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "suggested": [{"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "'Principium": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "chunks": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}], "NY": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "progeny": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "Nuur": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "improper": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "strata": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Type": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "pioneering": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "perspectives": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "call": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "discursive": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "If": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "Sex": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Finnish": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "Heroes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Connor": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "An": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "fully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "someone": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Florian": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "aka": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "sheet": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "arm": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Cent": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "e-culture": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Samanda": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "artist": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Ellis-Bextor": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "formed": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "1962": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Chasing": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Tumbai": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "approach": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Gallium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "sell": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}], "Arsenale": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "tapes": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "modular": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Tonight": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Jack": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "difficult": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "Crush": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "deltas": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "factor": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Otherwise": [{"id": "06", "sentence": "Otherwise you're not an artist."}], "existing": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "inside": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "survival": [{"id": "07", "sentence": "It is nessecary for evolution and survival."}], "sculpting": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "for": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "label": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Kingston": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "therefore": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "processed": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "waste": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "MacDiarmid": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "reverence": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "big": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "already": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "couldn": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}], "Greatest": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "urethan": [{"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "plays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "Bennett": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "affects": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "commemoration": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "//en.wikipedia.org/wiki/Baton_": [{"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}], "Wombats": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "known": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "blazing": [{"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "radiating": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Girl": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hours": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "decorative": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "tuning": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "characters": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "foundation": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "Asteroids": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "enjoyable": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "received": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Luxembourg": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "chat": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "grown": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Participants": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Half": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "disc": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "course": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Goddess": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "technological": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "guitar": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "recent": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "firmament": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "free": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Piano": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "talk": [{"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "was": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Orchestra": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "investigate": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "believing": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "Especially": [{"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}], "elusive": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}], "m": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Wrecking": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "TUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "Lazytown": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "theory": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}], "hear": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Analysis": [{"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "Aika": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "creativity": [{"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}], "detail": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "annual": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}], "09.00": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "edge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "turning": [{"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Sugababes": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "produced": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "photographic": [{"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "frequent": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "4": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "turned": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "determined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "steel": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "raped": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Filo": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "sonore": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "2007": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "turntablism": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "sequencer": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "channels": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "prod": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "purchased": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "version": [{"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}], "authors": [{"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Mesias": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Autumnsong": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "XXXIII": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "radiation": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "format": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "things": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "quipped": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "Beggin": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "inductive": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "structures": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "0.45": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Grant": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "imagination": [{"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Party": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "towards": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Bas": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Timo": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "consisted": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "production": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "]": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "poet": [{"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "wind": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "popular": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "ambiguity": [{"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}], "Fontys": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "St.": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "inch": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "landed": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "aims": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "stasis": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "Flute": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "denies": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "absurd": [{"id": "28", "sentence": "It’s absurd when you start to think about it."}], "Score": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "sure": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "type": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "Fricatives": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "wrong": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "functioning": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "assess": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "'Do-Re-Mi": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "invitation": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "environmental": [{"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "start": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "large": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "hall": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "evolutionary": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "Owen": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "2nite": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "combined": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "us": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "overall": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Ellen": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "team": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "library": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Different": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "post-ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "circumstances": [{"id": "28", "sentence": "Were they forced up North by circumstances?"}], "process": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "AMSTERDAM": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "phenomenon": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}], "Peter": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "flecked": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "deconstruct": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Sat": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "website": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "den": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "evokes": [{"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "destruction": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Axle": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "interpreted": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "still": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "such": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Sandy": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "2018": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "PUSHING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "area": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}], "Do-Re-Mi": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "laut": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "consultant": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "microphones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "zine": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "registers.": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "periods": [{"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}], "Gingeas": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Never": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Cathode": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "added": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "completely": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "The system was therefore completely stuck."}], "ethical": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}], "1991": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "underlying": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "14": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "providing": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "transmitters": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "Lee": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "processing.": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "Island": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "fears": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}], "able": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Christina": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "quotes": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "Verge": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "ethics": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "implications": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "properties": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "expressing": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "range.": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "painting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "emulating": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "pavilion": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "resonant": [{"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}], "am": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "effective": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "manipulated": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "JODI": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "beauty": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "plantenga": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "soundwaves": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "roll": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "—": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "impose": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "undergoing": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "update": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "fear": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}], "played": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "09/09/2016": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "including": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Jürgenson": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "associated": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "segments": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "leads": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "UK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "say": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "5.00": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Tectonics": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Informed": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "adopted": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "bushes": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "percentage": [{"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "Our": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "following": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "McFly": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "columbite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "advance": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Light": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "solo": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}], "Yourself": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Yuki": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "risk-free": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "Blackers": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "brass": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "fragment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "job": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "harbour": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "disseminating": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "aimed": [{"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "ARTKILLART": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "custom": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Not": [{"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "frequencies": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "SCORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "ca": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "angles": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}], "herman": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "FRANKLIN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "origins": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "General": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "AT": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "works": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "21^st": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "tantalite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "developments": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "Moniker": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "commercially": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "The": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "4th": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Faster": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "2008": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "long-duration": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "notion—that": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "valid": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}], "Flenger": [{"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "quietude": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Layne": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Shena": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "bringing": [{"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "floppies": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "investigates": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "dad": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "catalysts": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "vinyl": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "RAM": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "held": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "Subotnik": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "'prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "slowly": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Artists": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "„": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}], "absent": [{"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}], "Gamma": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "show": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "economy": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "piksel": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "99": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Zealand": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "off": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Enter": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Athena": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "mutated": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}], "feedback": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "reduced": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}], "fundamental": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "cheironomy": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "structure": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Stupidisco": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "schools": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "1990": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "HELGA": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "PRINCIPIUM": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "dot": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "sounding": [{"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Earthquake": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "20:00hrs": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "did": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "strength": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "One": [{"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "PU": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "like": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "graduate": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "not": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "vanBasco": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Brieselaan": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "surrounds": [{"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}], "Gallery": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "society": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "Matthieu": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "dig": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "today": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "Guido": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Orientation": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "computing": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Delft": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "players": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Monkeys": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "mannerisms": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}], "set": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Newton": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "think": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}], "birth": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "style": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "undertakes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "era": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "vital": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "dystopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "qualities": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "amazing": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "surround": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Cascone": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "February": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "flying": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Kuzbass": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "And": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "illegally": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Figures": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "widest": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}], "physics": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "audio-driven": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "synthetic": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "landscape": [{"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "Paradiso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "the": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "tend": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "sites": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "receiving": [{"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}], "surface": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "Specifically": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "must": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "figure": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "typography": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "indignation": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "hacked": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "sacred": [{"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "2016": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Mariah": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "later": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "enjoy": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Kakakakaito1998": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Aguilera": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "DJ": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "statements": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "first": [{"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "withdrawal": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "computer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Schematics": [{"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}], "absence": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "composing": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Katie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "harsh": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "choir": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "og": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "efficiency": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "lives": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "HIELE": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "Rhizome": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "relentless": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "indictment": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "Una": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "which": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "principle": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "hand": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "thermal": [{"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "African": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Saturday": [{"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "utilizes": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "listen": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "weaving": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}], "aal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Gohan": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "liberation": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "archaeology": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "generator": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "21st": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "unfortunately": [{"id": "34", "sentence": "Julian unfortunately died at young age."}], "is": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Sonology": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Mika": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "borderline": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "Nathan": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "Serial": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Willem": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "playground": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "conventional": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "pure": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Underground": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "follow": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "And I follow that."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "thinks": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "von": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Tin": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tailings": [{"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "word": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], ";": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Marco": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "Bleeding": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "span": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "NILSEN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "utensils": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "cover": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "\\": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Represent": [{"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "referring": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "PZI": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Sonic": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "derive": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "distinctive": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "7": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "5": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "takes": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "de-mass-splintering": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Piet": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Paris": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "negative": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "memory": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "resulted": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "ISSTC": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Repeating": [{"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Eamon": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "BUMA": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "date": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "VALENTINA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Atli": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "propose": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "my": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "interests": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "metre": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "art": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "transpose": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "sylvinite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "RECORDS": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Drama": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "light-sensitive": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "closer": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "subtitled": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "parent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "blog": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "mixed": [{"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "man": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "505": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Portugal": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "logistically": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "speak": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "MORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Is": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Schaeffer": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "ARCHIVING": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Winehouse": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "concentrated": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "archival": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "statement..": [{"id": "06", "sentence": "And a statement.."}], "cacti": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "amblygonite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "manage": [{"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "revenue": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "discussing": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "superfast": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "LED": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "striking": [{"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "seemed": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}], "inquiry": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "im": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "bloggers": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Liar": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "E-ARTHHA": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "constructed": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "//www.instagram.com/macumbista/": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "speaking": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "partners": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "acting": [{"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Resonanz": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}], "credits": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Kaprow": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Wikia": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "steps": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "//endlesswebsite.blogspot.nl/": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "laserbeam": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "better": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "adviser": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "technology": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "deals": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "uninhabitable": [{"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "Alfie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "influenced": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "Preachers": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "culture": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "21", "sentence": "Subcultures form through music."}], "authentic": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "platform": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "reasons": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "vs": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "curator": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}], "noise": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "fit": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "snow": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "Blood": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "back": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "follows": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "interesting": [{"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "population": [{"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "implication": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Triple": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "trace": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "evolve": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "abuse": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "inspirational": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "passive": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "Age": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "C": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "region": [{"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "noisette": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "stacked": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "articulators": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "8": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "partly": [{"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "showcasing": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "really": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "soil": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "Each": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Andy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "performed": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "counter-energy": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Calvin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "NOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "synthesizer": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "dat": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "recently": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}], "foreshadow": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Earth": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "publications": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "weekend": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "couple": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "Verka": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Mead": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Or": [{"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "southwestern": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Belgian": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}], "simple": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}], "stated": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "inches": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "Vanessa": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "funny": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "Hudgens": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "experiment": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "ve": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "downloaded": [{"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}], "70,200": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "touch": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "Author": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "genre": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "constitutes": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "WORM": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "CaO": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "plunder": [{"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "contains": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "der": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "beamer": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}], "head": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "NET": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "Era": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "voice": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "automatic": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "confront": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Wallgallery": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "crushed": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "explores": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "individually": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "India": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "London": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "setting": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "sounds": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "underground.": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Scottish": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "formation": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "YANN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "rock": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "movement": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Angeles": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "breakers": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Dress": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "all-dominating": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Exotica": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "Darwinian": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "corresponded": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Buennagel": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "introduced": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "extends": [{"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Korea": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "boat": [{"id": "28", "sentence": "You have to take a boat to get there."}], "decoding": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "fall": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "result": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "shorter": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}], "parallelling": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "Hilmar": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Bones": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "impuls": [{"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}], "Inspiration": [{"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "Fred": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "idea": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "quartz": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "importance": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Bing": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "worker": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "formula": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "remains": [{"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}], "aspects": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "B": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "movements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}], "time": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "cheaper": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "graphically": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "discussions": [{"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "emitted.": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "quartet": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "variety": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}], "claimed": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "sphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "starting": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "experiments": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "written": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "repetition": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "trillion": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "occurrences": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Master": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "P": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "Kagel": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "writing": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "your": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "roster": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "So": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Johansson": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "kinetic": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "clarify": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}], "text": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "entities": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}], "bound": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "within": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Remco": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "rest": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "BUENNAGEL": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "several": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "third": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "artistry": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}], "synth": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "hold": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "18:00hrs": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Candyman": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "intervention": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Almost": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ray": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "innovative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "VUKSIC": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "separate": [{"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}], "expected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "failure": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "splitting": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "exceeded": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "previously": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "Better": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Amongst": [{"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}], "c.": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "c. 1963"}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "meaningful": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "strangely": [{"id": "07", "sentence": "It’s strangely hypnotizing."}], "electro-instrumental": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "venue": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "8th": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "enchants": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Ultima": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "one": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "statement": [{"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "focuses": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "wide-ranging": [{"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "BJ": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "intelligible": [{"id": "23", "sentence": "That way the most irregular things can become very intelligible."}], "Technical": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "This": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "dub": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "Shikari": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "pushed": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "transposed": [{"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "asking": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "attempt": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "Miley": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "plucks": [{"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "smaller": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Kim": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "misunderstanding": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "Due": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "unexplored": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "eleven": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "screamed": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}], "proceeds": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "limbo": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "Willis": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "accessible": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "anymore": [{"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "direction": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Poly-diso": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "hardware": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "plants": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Moon": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "investigated": [{"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "permission": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Antwerp": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "influences": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}], "Produced": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "probe": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "calls": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Java": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "kitsch": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "any": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Helga": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "story": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "train": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "our": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "Kokmeijer": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "relative": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "transport": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "note": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "MAMPlayer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "1983": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "begun": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "consciousness": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "subversive": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "stick": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "match": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "...": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}], "Siberia": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Breathless": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Joost": [{"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "en": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "subject": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Evelin": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "vehicles": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "ground": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "confection": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "forms": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "Player": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "confrontational": [{"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "64-bit": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "contained": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "enough": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "computer-derived": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "little": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "FLORIS": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "Audio": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "associate": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "told": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Center": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "Roberto": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Starting": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "term": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "usually": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "lenticulars": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "Lostprophets": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "performative": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "concepts": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "caused": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "introducing": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "1970": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Acrylic": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "entitled": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "adventurous": [{"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "modifying": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "individual": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "interrupted": [{"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "ears": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "smooth": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "pictures": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "Ore": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "MIDIs": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "visual": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "replaces": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "l": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Editors": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "looks": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}], "still.": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "On": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "oldest": [{"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "hah": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}], "magnetite": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "future.": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "STEIM": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Kinnunen": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Necrofantasia": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Hoof": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "him": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "discussed": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "being": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "culminating": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "SCORES": [{"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "military": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Patrick": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "activities": [{"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Tilburg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "media-technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "published": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "possibilities": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "wall": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "21st-century": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "etc": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "dimensions": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "choreographies": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "page_id=5000": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "collage": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "active": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}], "clue": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "tenuous": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "Marc": [{"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "se": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "two-player": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Silicon": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Political": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "night": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "lecturer": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "full": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "intuition": [{"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}], "Midas": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "animations": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "an": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "German": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Line": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "unfolding": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "sonic": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "inhabits": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "options": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}], "Flanders": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "versions": [{"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "Anders": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "signal": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "focusing": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "games": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Keyboard": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "yodel.": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "teaching": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "50": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "placed": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "internal": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "rap": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "undermined": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "directly": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "practise": [{"id": "22", "sentence": "Good practise for the ears."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "asserts": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "festival": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "truck": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "spraying": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Sevenfold": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "We": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "incredible": [{"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}], "http": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "device…": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "1926": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "sound": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Pfizer": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Pask": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "nor": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "Focussing": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "29": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "ball": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "projects": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "inputs": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Breaking": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "print": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "effect": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "series": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "33": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "railway": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "grow": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "video-editing": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "sleep": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "uniform": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "plucked": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "creates": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "partiture": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "Ayas": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "American": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "color": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "coal": [{"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "unplayable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Don": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "ILDA": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "mechanised": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "sylvite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Casio": [{"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "common": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "perception": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}], "XY": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "//github.com/macumbista/vectorsynthesis": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "oral": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "Roman": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "recorder": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "Chamber": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "nowadays": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "among": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "worked": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}], "offer": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "23h": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}], "-The": [{"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}], "Amazing": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "billboards": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "linear": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "When": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "disturbances": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "parts": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "feed": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Xerox": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}], "RYAN": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Council": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Dancing": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "Netherlands": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "TV": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Adagio": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Mary": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "War": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "sharing": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "Burning": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "originates": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "static": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "understanding": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Love": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "output": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}], "normally": [{"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "transmutation": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "immediately": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "meeting": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "puppet": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "shapes": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "participatory": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "write": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "though": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Jonas": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "losing": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "blackers": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Media": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Milan": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Institutions": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "ANA": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "pianos": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "attract": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}], "haunting": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "land": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "length": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "artists": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "rests": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "Dream": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "types": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "Jamelia": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "JULIA": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "Art": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "packaging": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Software": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "perceives": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Synthesis": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "filed": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "thirteenth": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "Sometimes": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "liked": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "rhythmic": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "sine": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Bubbly": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Ana": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "because": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Disco": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "renewed": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "theorist": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "psychological": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}], "Quo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sandin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "horrible": [{"id": "28", "sentence": "Sometimes this can go horrible wrong."}], "post": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "broadcasts": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "join": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "tremolo": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Sámi": [{"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}], "matched": [{"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}], "Winnipeg": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "remove": [{"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "drifting": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "members": [{"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "nightmare..": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "overthink": [{"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "differences": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "presentation": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "Well": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "time..": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}], "Zen": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Wrote": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "braunkohle": [{"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}], "continuous": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Morning": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "​​'cracked": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "www.facebook.com/xpub.pietzwart": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}], "straightforward": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "turns": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "au": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "reassembled": [{"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}], "official": [{"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "quality": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}], "expert": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "ut": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "dimensional": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "archive": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Nordlichter": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "Reinhold": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "nearly": [{"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "baton": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "editorial": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "Rozendaal/Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "those": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "extent": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "credibility": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "c.1962": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "per": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "thread": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "then": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "flattered": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}], "Moana": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "instructions": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}], "&": [{"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "'conceptual": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "creative": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "belong": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "mining": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "ROTTERDAM": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "programmable": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}], "impressive": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "Often": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Writer": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "asteroid": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "cheap": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "1991-1993": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Mills": [{"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Get": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "participated": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "Nicolas": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "spatial": [{"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}], "Pedersen": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "soundtracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "Up": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Enschede": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "21-04-2017": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "PA": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "utopian": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "unique": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Colson": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "woke": [{"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "Anonymous": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "By": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "amplified": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "rendition": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "focus": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Museum": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Bigger": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "19.Vector": [], "reflect": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "generative": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "2016–2017": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "determines": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "materialization": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}], "actively": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "serie": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "connections": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "early": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "release": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "rigid": [{"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}], "becoming": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "form": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "vacuum": [{"id": "28", "sentence": "It created a vacuum after it closed."}], "proces": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Mind": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "session": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "run": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "mid-1980s": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Just": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "reed": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Pendulum": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "retro-for-retro": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "DOB": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Vos": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "looking": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "feminist": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Varia": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "ability": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "grid": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "phone": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "performers": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "while": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "sampled": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "Arnold": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "confined": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}], "thought": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "singers": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "ingenious": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "black": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Noordt": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "auditory": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "scan": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "ambient": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "Use": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "concert": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "signed": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "sold": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "continents": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "'graphical": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}], "Baxter": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "ownership": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "publisher": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "analytical": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "Join": [{"id": "06", "sentence": "Join the community."}], "Julia": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "reproducibility": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "period": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "myth": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Anitation": [{"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "specialised": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "into": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "KAHN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "galleries": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}], "relay": [{"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "//www.remcovanbladel.nl/": [{"id": "04", "sentence": "http://www.remcovanbladel.nl/"}], "Choir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "int": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "age": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "places": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "1970s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "exhibition": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "me": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Vaasts": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "ultimate": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "single": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "elements": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "wherein": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "Delivery": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Ayo": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "closed": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It created a vacuum after it closed."}], "JoJo": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Gareth": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Pricipoium": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "Fremdarbeit": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "debut..": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}], "powerful": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "re": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "reaction": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "psycho-acoustic": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "text-compositions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "narratives": [{"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "Shirasagi": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "thousand": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "intimate": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "Lisa": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "possibly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "travelling": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "homes": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "thanks": [{"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "announcement": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "worlds": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "enlarged": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "interface": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Interview": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Symphony": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "participating": [{"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "designers": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "details": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "musical": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Visual": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "companion": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "collectives": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "instruction": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}], "method": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "Together": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "experimenting": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "met": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Peppers": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "UNTITLED": [{"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "rudimentary": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "pioneers": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "observed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "interest": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Martens": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "There": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "recordings": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Perhaps": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "stop": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "28", "sentence": "Where does mining stop?"}], "Though": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "tuned": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "populated": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "conception": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Bunton": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "materials": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "them.": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "correct": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}], "Changes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "development": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "+": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "slag": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "crystals": [{"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "feat": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "interconnections": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "reciprocal": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "democratic": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "non-verbal": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "eventually": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "Grøn": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "67P/Churyumov–Gerasimenko": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "extremis": [{"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "With": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "visits": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}], "digitalcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "relation": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "MgO": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Hearts": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "metres": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "done": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "geological": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "filmscreening": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}], "Larrikin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "witnesses": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "office": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "modernist": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "phi0978.phi001.perseus-eng1:33.1": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Bergen": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "ensemble": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Now": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "William": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "heart": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "variable": [{"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}], "Bob": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "homage": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Bischoff": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "switches": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "travelled": [{"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "self-structuring": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "Serge": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "p.34": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "latinLit": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "operate": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}], "headphones": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "philosophy": [{"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "real-time": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "Staal": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "edited": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "dancer": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "feeds": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "Steina": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Fe": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "since": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Chemical": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Arnaud": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "Technology": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "bits": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "JAKOBSON": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "continually": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}], "extract": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "questions": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Fengjastrútur": [{"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "energy": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "designing": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}], "recording": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Artkillart": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "dots": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}], "influence": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "swarms": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Bring": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "expressive": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "avoid": [{"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "musically": [{"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}], "Yann": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "controlled": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "English-language": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "stand": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "ORE.": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "Untitled": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "2012": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "transitioned": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "easily": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}], "random": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "fragments": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Gert-Jan": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Julian": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "2-3": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Anne-Mie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "'other": [{"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}], "unexpected": [{"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "beam": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "forsooth": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "15:00hrs": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "Xenakis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "dismissed": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}], "2011": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "show.": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Kees": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "colossal": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "broadcasting": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "people": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "regularly": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "store": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "casts": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "Transylvania": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "retain": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "i.c.w": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}], "behind-the-scenes": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "BERGMARK": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "Na2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Aux": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "best": [{"id": "01", "sentence": "His best ones."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "transparent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "conditions": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Dog": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "bauxite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "territory": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "inventions": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "corresponding": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "discards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "disappearance": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "widely": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "%": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Affect": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "occasionally": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "continuïty": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}], "instead": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "makers": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "recorded": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "sorts": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "polyphonic": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "important": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It is important for companies to manage this."}], "hrs": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "complete": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}], "contemplation": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "desolate": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}], "irregular": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}], "VANHOOF": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "'em": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Siobhan": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "|": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "years": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "connect": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "decide": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "similar": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}], "Blue": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Transformation": [{"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "horizon": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "compositions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Calabria": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "combination": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "harshness": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "self-education": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "meaning": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "ice": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "cooperation": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}], "vibratory": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "low-wage": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "concrete": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "minus": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "reminded": [{"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "keys": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "phase": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Always": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Curvy": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "To": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "marginalised": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "revolves": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "sourcebook": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "vulnerable": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "words": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "initiative": [{"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "encountering": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "surroundings": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}], "Booty": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "techniques": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "explained": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "analogue": [{"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}], "consider": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "twelve": [{"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "'presence": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "Canon": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "labelled": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "definitely": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "another": [{"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Graphite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "playback": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "neumens": [{"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "technique": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}], "Caput": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "obviously": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "Potter": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Innovation": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "indeed": [{"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}], "melody": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "room": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "menace": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "attention": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "AU": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "holes": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "symbolise": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "minute": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}], "Nam": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "predictable": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "sonification": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "//www.deplayer.nl/releases/dob079": [{"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}], "tempel": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}], "paste": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}], "mutually": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "related": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Deterministic": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "transformation": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "aren": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Laetitia": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "Publication": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "unfolds": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "toys": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Shots": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "analogous": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Rafaël": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "doubting": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "frequency": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "shortly": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Jan": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}], "CITG": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "her": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "exciting": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Bringing": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "Composers": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "College": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "researching": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "Fine": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Along": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "selection": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Anything": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "equipment": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "functioned": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}], "studios": [{"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "aesthetic": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Arrows": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "using": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "close": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "Destination": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "offered": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "filmmaking": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "ambition": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "integration": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "misconception": [{"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "cases": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "Pi": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "colourful": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "ch": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "expression": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "2009": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "stuff": [{"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "2017": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Building": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "strings": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "tenth": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}], "almost": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}], "infers": [{"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "exploration": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "based": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "bring": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Miami": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "Whole": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "conveyed": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "onorthodox": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}], "colors": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "actual": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "speaker": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "derived/transformed": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Through": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Animation": [{"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}], "21:00hrs": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "captures": [{"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "easier": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}], "leader": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "Richards3": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}], "//www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin": [{"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "limited": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "imagined": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Conservatorium": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "Hackaday": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "opinion": [{"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}], "Because": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "Band": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "reproductions": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "thesis": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}], "Academie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "instruments": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "future": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "fraction": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "went": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "Nordic": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "encounters": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "stands": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "converts": [{"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "niobium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "short": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Of": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "2014": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "experimentation": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}], "winter": [{"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "afraid": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "issue": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "merely": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "About": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Brecht": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "Timbaland": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "media": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "Event": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "do": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "document": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "killed": [{"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "-Kris": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}], "South": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "there.": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "size": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "specifically": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "willing": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}], "programme": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "who": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "included": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "sewing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "PARA-PHONIC": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "concentrate": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "Fuller": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Got": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "phrase": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}], "image": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Markus": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "doors": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Pavilion": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "inserting": [{"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Jetset": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "it.": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}], "sticker": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "De": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "corner": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "issues": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "reach": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "publicly-playable": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "designer": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "make": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "well-known": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "Origins": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Silver": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tonewheels": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "cassiterite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "GOURDON": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "tangibility": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "dance": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}], "Cry": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Ca": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "than": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "cards": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Me": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "redefine": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "their": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "guided": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Autonomia": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "multiplexed": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Pu-shi-ng-Sco-res": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "2015": [{"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "fjord": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "extremely": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Keynote": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "north": [{"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Amy": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "emulation": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "September": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Abuses": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "v3": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "man-made": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "circular": [{"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "conducted": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "teaches": [{"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "performed.The": [], "bouncing": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "means": [{"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "goes": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}], "immersive": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "//bergmark.org": [{"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "fell": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "Carl": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "graphics": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "could": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Cologne": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Since": [{"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}], "Chill": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "deal": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "chronology": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "trickster": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "closely": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}], "indicates": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "shipped": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "FUSINATO": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Sony": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "economical": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "proposed": [{"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}], "survive": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}], "Tudor": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "execution.We": [], "compiling": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "Seal": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "copier": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}], "phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}], "Dare": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "passes": [{"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Andrea": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "re-examined": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}], "academy": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "anticipate": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "combines": [{"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Iceland": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "planes": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "Theories": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "TERRAIN": [{"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Hurdy-gurdy": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}], "lie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "'musique": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "microphone": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "turn": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "surfaces": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "has": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "leftover": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "Chelsea": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "autonomous": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "Boogie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Rotterdam": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Richards": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "directors": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "clocking": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "fresh": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "mechanic": [{"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Bøtcher": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "look": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "electronic": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "concept": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "credit": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "painstakingly": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "09": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Arts": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "predate": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Elliot": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "instrumentalize": [{"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "Shakira": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "consoles": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "nl": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "analog": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "mobile": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "subsequently": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "092": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "Jun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "includes": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Lieshout": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Eyes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Maxïmo": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "theme": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "Bear": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "deciding": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "continuously": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "PARADISO": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "terms": [{"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "But": [{"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "listrænt": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "windows": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Iron": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "John": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "message": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "context": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "'attitude": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "Later": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "Borrow": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Rotem-Stibbe": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "find": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Possibilities": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "communities": [{"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "effectiveness": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "anyway": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}], "Street": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "Tetra": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "Indium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "channel": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "searching": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "controller": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "mention": [{"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "given": [{"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Sydvaranger": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "WHY": [{"id": "04", "sentence": "WHY???"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "subjective": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "Intersection": [{"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "slurry": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "glissandi": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "non-pulse": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "somewhere": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}], "boss": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "collages": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Really": [{"id": "06", "sentence": "Really great stuff."}], "screaming": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Gourdon": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "gesture": [{"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Xyears": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "Vuksic": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "electric": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "called": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}], "quantums": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "book": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Natives": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "subjects": [{"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Methi": [{"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "rise": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "far": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "doomed": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "sic": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "hotspot": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "foil": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "SynthFont": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "box": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "resonance": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "typically": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "create": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "late": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "states": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}], "Freiburg": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "effectively": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "branches": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "ran": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "might": [{"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "investigation": [{"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "improvise": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "guarantees": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "overdetermined": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "ironic": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "spirit": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "in": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "key": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "monumental": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Haan": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "scoring": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "four": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}], "However": [{"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "allows": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "categories": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "soundtrack": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "all": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "procedure": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "challenged": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "obsolete": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "flutes": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "stream": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "respect": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "exist": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Chili": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "096": [{"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "abroad": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "beginning": [{"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "Nine": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "SEQUENCER": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "Has": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Dance": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Strings": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Klangwerkstatt": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "forty": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "activity": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "reconstruction": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "skills": [{"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}], "SESSION": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "around": [{"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "turntables": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Wall": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "V2": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Canadian": [{"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "20^th": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Tantalum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "fragile": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}], "Scores": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Sun": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sydney": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "ephemera": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Hits": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "applications": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Jamie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "anybody": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "nessecary": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}], "compression": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Tempest": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "together": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "copyright": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "mill.": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "tantalum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "executed": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Van": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "tónsmiða": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "appeal": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "past": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "M.A": [{"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "stability": [{"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "Sveinbjarnardóttir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "onto": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "flip": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "punk": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "Circular": [{"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "disciplines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "wailing": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "60s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "transporting": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Rozendaal": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Finland": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "used": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Fall": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "incorporated": [{"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "six": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Made": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "1989": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "Like": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "consciously": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "Riphagen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "change": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "diverse": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}], "Dan": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "invisible": [{"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "Acceptable": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "shoot": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Steve": [{"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "Seasons": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "p=72": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Do": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "acclaim": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "spines": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "enjoyable..": [{"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "processing": [{"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "presentations": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "computers": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "trapped": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "haiku": [{"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "Steal": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "resolutely": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "misdirected": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Chen": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "roles": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "Annette": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "August": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "planned": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "inspired": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "passage": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "staff": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "https": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Here": [{"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "RAFAËL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "2.0": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "question": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "Lithium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "attuned": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Belgium": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "state": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "And a statement.."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "consequence": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "graphic/sculptural": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}], "bunkers": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "refers": [{"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}], "specific": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "embodied": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "communicated": [{"id": "21", "sentence": "The cultural identity is communicated with this."}], "email": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "personal": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}], "poured": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}], "fluxus": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "low": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Short": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}], "former": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "vocal": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}], "Clock": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "spread": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Grenoble": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "intuitive": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "social": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "multi-instrumentalists": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "unconventional": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "Murmansk": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "stereotypical": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "sit": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "dedicated": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "ok": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "unable": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Post-Repeating": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Matt": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "20th": [{"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "bold": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "contact": [{"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "volume": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "vocalizing": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "Tektronix": [{"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}], "blacker": [{"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "reality": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "Mitterrand": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "business": [{"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Artistically": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "studies": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "15": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "experimental": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "values": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "Pong": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "authorship": [{"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "science": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "finished": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}], "Koopa": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Economy": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}], "effects": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "always": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "nonsensical": [{"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}], "quite": [{"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "websites": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "St": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "across": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "predilection": [{"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}], "act": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "world": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "instrumental": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "a": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "commissioned": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "Suede": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "basic": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "glad": [{"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}], "lot": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "renderings": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Cyrus": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "focusses": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "mix": [{"id": "02", "sentence": "The result is a mix of several media."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "ART": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "filtered": [{"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "enthusiastic": [{"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}], "selections": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "'spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "height": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "necessity": [{"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "considering": [{"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "studied": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "Näätämö/Neiden": [{"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "electroacoustic": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "Tonewheels": [{"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}], "Star": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "locations": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "norm": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "'Musical": [{"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "That": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "That is quite scary."}], "notable": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Buckminster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "rainbow": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "e-flux": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "devices": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "refining": [{"id": "28", "sentence": "I’m always processing and refining my field recordings."}], "often": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}], "analyzing": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "Know": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "colorful": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "conductors": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "named": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "according": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Bed": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "pop": [{"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "poisonous": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "less": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kiem": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "led": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "DOUGLAS": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Gawker": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Beuys": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "morphing": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "Reich": [{"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "1500": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}], "James": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "pieces": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "80": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "//www.newrafael.com": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "Circle": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "scale": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "Throughout": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}], "however": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "lengths": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}], "Hausswolff": [{"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "Affair": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Goudron": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "behavior": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "detuning": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "two-year": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "blanks": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "jive": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "la": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "unlikely": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "home": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "Groothandelsgebouw": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "flop": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "blending": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "glassplate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "represent": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "rough": [{"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "axiomatic": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}], "Europe": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "field": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "2nd": [{"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}], "Fengler": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "white": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "traditional": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "law": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "TheTrustedComputer": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "presents": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "copier'": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}], "liverecordings": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Moment": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "desire": [{"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "programmed": [{"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Rumble": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "pasting": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "temporalities": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "appropriation": [{"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "pigeons": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "Dearest": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "realtime-controllable": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "disturb": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "plan": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "other": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Aid": [{"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}], "fiercely": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Happenings": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Park": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'dialectic": [{"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}], "shaped": [{"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "zone": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "receiver": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "collaborates": [{"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "endurance": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "overlaps": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "affecting": [{"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "finest": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "economic": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "disturber": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "softwares": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "untouched": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "tradable": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}], "As": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Vectorian": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Theater": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "inspiration": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}], "mythology": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "2013": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "TGC3": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Joy": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "silk": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "master": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Nguyen": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Hot": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Super": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "DOB073": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "Workshop": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Trying": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "standardized": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "0.30": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "STRIPPED": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "Development": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Spoon": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "no": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "great": [{"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "schematics": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "uses": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "chapter": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "Let": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "imprudently": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Caribbean": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "systems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "scream": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Frith": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "cut-up": [{"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "Chain": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "12-vinyl": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}], "Eckehard": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "printing": [{"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}], "consists": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "splicing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "European": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "dynamic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "Elvis": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "Valentia": [{"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "phones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "kullbingen": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "handcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "7th": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "emptiness": [{"id": "24", "sentence": "emptiness has that same relation with notation."}], "evening": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "way": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "spoken": [{"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}], "Ending": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ireland": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "spontaneous": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "section": [{"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "17": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Mal": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "chiptune": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "now": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "representatives": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}], "TMIDI": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "amplify": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "processor": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "California-based": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Brookhaven": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "registers": [{"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "compensation": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "Lissajous": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Tcherepnin": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "emissions": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "placing": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "Feb": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "enhance": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "living": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "family": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "costumer": [{"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "work/action": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "TELCOSYSTEMS": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "tons": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "political": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Brothers": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "writings": [{"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "PINKIE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "hope": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "booklet": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "April": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "coding": [{"id": "10", "sentence": "A sort of live coding."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "MATA": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "confines": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "Wales": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Sugar": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "underground": [{"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Italian": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}], "kitchen": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Dutch": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "Arnhem": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "vibrations": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Low": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "fits": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "TGC #3 fits right in."}], "technologies": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "monitors": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "political-economical": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "know": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "runtime": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "impossibilities": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "Antwerpen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "machines": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "choices": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "cracking": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}], "have": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "redesigned": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "decoupling": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Video": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "Sunblock": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "Rather": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "carefully": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "festivals": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "indicate": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "1963": [{"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}], "Bobby": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "//www.slowempty.com/": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "HILKMANN": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Morton": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Principium": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "catastrophic": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "They": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "animated": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "//xpub.pzimediadesign.nl": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}], "copy": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "intently": [{"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "//vimeo.com/151283154": [{"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "layer": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "17.00": [{"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "Road": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "bigger": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "gather": [{"id": "08", "sentence": "The Intersection part is where the initiatives gather."}], "content": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Sunshine": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "zoos": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Los": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "Reijnoudt": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Touhou": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Avenged": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lepidolite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Universal": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "logic": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "choreographically": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "poetic": [{"id": "06", "sentence": "Don’t know, it just rang poetic to me."}], "Oscilloscope": [{"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}], "irrelevance": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "films": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "G": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Enemy": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "identify": [{"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "ephemeral": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "learning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "wealth": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "Orm": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "micro-capacitors": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tell": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "console": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "1973": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "80s": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "up": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "Floris": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "10": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "sterile": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "Gaudino": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Remörk": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "sort": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "fly": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "de/nl": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Some": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "going": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "enlarge": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "on": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "piece": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "shooter": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "'Onomatopee": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}], "20:30hrs": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}], "ancient": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "0.053mm": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "material": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Nelly": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "sun": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Blag": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "records..": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "mentioned": [{"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "manageable": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "guideline": [{"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "0.01": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Koninklijk": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "programmer": [{"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}], "researches": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Rivière": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "Navajo": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "Searching": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "banal": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "narrative": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "sol": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "-If": [{"id": "06", "sentence": "-If you force me to choose between those two, then drone."}], "directing": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "observing": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "Arachnes": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "LIERMAN": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "abstract": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "'game": [{"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}], "read": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "times": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Jason": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "engineered": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "wrongfully": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "lavender": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "bart": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "rhythmical": [{"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "teachers": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Obtrusive": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "Hard-Fi": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "existed": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "sung": [{"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}], "much": [{"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Scarlet": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "Crank": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "octave": [{"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "Free": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "mellotron": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "XPUBPiet": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Fratellis": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Ben": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "WITH": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}], "choose": [{"id": "06", "sentence": "-If you force me to choose between those two, then drone."}], "USA": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "order": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Buchla": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "conceptual": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "textures": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}], "selecting": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "Vaast": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}], "Nico": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Mathias": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "liberating": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "Jörg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "bodily": [{"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}], "trying": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "due": [{"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "seek": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Pistols": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Ziegler": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "mi": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "relationships": [{"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "060": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "compilation": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "wanted": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "greater": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "composed": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "visualises": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "LP": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "Bon": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "greenhouse": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "positive": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Seeley": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "limits": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "differently": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "BENNETT": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "expressions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Husk": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "seen": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "identities": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "argument": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "core": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Davide": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Eczema": [{"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "info": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "brainwaves": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "transducers": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "serves": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "demonstrate": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}], "sequentially": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Laposky": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "Above": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "searched": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "tone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "joint": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "Bank": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "web-based": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "scores.Derek": [], "stages": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}], "fa": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Ingólfsson": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "focal": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}], "12:00hrs": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "driving": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "Republic": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "exchange": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "aural": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "list": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "negatively": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}], "Developed": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}], "themes": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}], "broken": [{"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}], "PU-SHI-NG-SCO-RES": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "D.A.N.C.E": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "moments": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}], "Te": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "sucker": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}], "running": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "barely": [{"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "arts": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "22": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "40": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "pitches": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "editions": [{"id": "05", "sentence": "The making of editions can be understood in this context."}], "principles": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "logical": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Attali": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "tracing": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "refocus": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "magnetic": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "opens": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kottke": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Henry": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "opposite": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "Western": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Norway": [{"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}], "Groupe": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "lapidary": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Devil": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "but": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "can": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "helped": [{"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "complex": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "out": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Saedier": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "studenten": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Karina": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "mined": [{"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "are": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "space": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "put": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Anthem": [{"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "noise-guitar": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Computer": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "see": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "shifts": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}], "brought": [{"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}], "took": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "earning": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "//huellkurven.net": [{"id": "20", "sentence": "URL: http://huellkurven.net"}], "Size": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "screen": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "rendering": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "valorizes": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "walls": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "readings": [{"id": "28", "sentence": "Different types of stone give different frequency readings."}], "Foerster": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "rasterized": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "collect": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Iannis": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "musicians": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "methodology": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}], "artworks": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}], "possibility": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "S.L.Á.T.U.R": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "top": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Shayne": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "labour": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "1943": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Mosconi": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Time": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "without": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Gilmour": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "fraternises": [{"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "humans": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "copy-run": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "failed": [{"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "feel": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "I don’t feel this record has that."}], "ingredients": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "press": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Second": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "aim": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "richer": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "functions": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}], "Summit": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "conductor": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "guest": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "hematite": [{"id": "28", "sentence": "We can see layers of hematite."}], "opportunity": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "HOOF": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "rethinker": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "months": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "J": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "strange": [{"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "tutor": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}], "WHO": [{"id": "04", "sentence": "WHO???"}, {"id": "09", "sentence": "WHO???"}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "31", "sentence": "WHO ???"}], "1900": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}], "Efron": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "electricity": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "final": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "electronics": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Its": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "republished": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}], "pare": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "speech": [{"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "teacher": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "perform": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Zac": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'deep": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}], "available": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}], "Benny": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Italy": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "Úlfar": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "had": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "some": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "Technische": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Minnesota": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "algorithmic": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "downloadable4–": [{"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "iconic": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "revolutionized": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "three": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "recoding": [{"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "status": [{"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "Hang": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "yodeling": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}], "Bites": [{"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}], "involved": [{"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Romanticism": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Queens": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sealed": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "Jibbs": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "mirror": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "gets": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "death": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "wanting": [{"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "traveled": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "Hamburg": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "guests": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "Void": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "delicate": [{"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}], "improvised": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "connection": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "Heerlen": [{"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "financial": [{"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}], "produces": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "should": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "holders": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}], "elementary": [{"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}], "He": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "model": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "astonished": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "clients": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "believed": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "blackens": [{"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "initially": [{"id": "06", "sentence": "I think initially he wanted to do a tape."}], "wolframite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Public": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "T": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "//www.deplayer.nl/releases/dob046-10-fersteinn": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "minimal": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "TDK": [{"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "research": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Radical": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "description": [{"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "arachnids": [{"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "one-note": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}], "cuts": [{"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "Heinz": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Valentina": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Hunk": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "French": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Century": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "everchanging": [{"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "MIDIPlayer": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "mine": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "recreating": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "taking": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "turntable": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Then": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "income": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "yielding": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "contribute": [{"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Haraldsson.Silence": [], "'participatory": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "China": [{"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "Linkin": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "summer": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "sometimes": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "0.08": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "good": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "depending": [{"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}], "tried": [{"id": "07", "sentence": "Until i tried it."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "matrix": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Montgermont": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "weird": [{"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}], "Initially": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "highlights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "elastic": [{"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}], "ever-evolving": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "hard": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "'anitation": [{"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}], "abilities": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "muted": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "sticky": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "shortwave": [{"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "ongoing": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "FLOPPY": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "happy": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}], "-Derek": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}], "reminds": [{"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "atmosphere": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "seventh": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}], "war": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "intended": [{"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Germanium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "larger": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "radio": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "entirely": [{"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "//www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}], "network": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}], "behind": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "usual": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "sheets": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "trajectories": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "Guedes": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "degree": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Which": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}], "25": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "monster": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}], "to": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Incorporated": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "meant": [{"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}], "leaving": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "countries": [{"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "interact": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Mineral": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "1": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Arduino-powered": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}], "Spectral": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "interaction": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "driver": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "array": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Barbie": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "limit": [{"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "purely": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}], "mistakes": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "tba": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "connects": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "unceremoniously": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "aforementioned": [{"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}], "send": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}], "Kittler": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}], "089": [{"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "eaten": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "dubplate": [{"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "photovoltaics.": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "cash": [{"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "unchanged": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "represents": [{"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "methods": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "metal": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "develops": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "hidden": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Vasukas": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "relevant": [{"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}], "sculpture": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Xenakis-esque": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "DEREK": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "unknown": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "further": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Any": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "DETUNING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "launched": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "Kylie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "2": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "mailed": [{"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "mangled": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Babyshambles": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "problematic": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "hanging": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "Synthesia": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Iraq": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "Publishing": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Brianstorm": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "CRT": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Aurelie": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "Arctic": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}], "manufacturers": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "courtesies": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "Knowledge": [{"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "resources": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "073": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}], "Jessica": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Post-war": [{"id": "16", "sentence": "Post-war developments continued in this direction."}], "abandoned": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Alarm": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sound-artists/composers": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Modernity": [{"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "2006": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "gallium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "during": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "-With": [{"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}], "Palestine": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Until": [{"id": "07", "sentence": "Until i tried it."}], "projected": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "promise": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "folding": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Bet": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "intact": [{"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}], "force": [{"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Cars": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "compose": [{"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "dawn": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Justice": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "organic": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "fundament": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "ordering": [{"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "interactive": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}], "auditive": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "changing": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "engraved": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "synthesis": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "south": [{"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "extreme": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "eleventh": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}], "Cold": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}], "Crazy": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "World": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "speed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Subcultures": [{"id": "21", "sentence": "Subcultures form through music."}], "Gordon": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "enormous": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "magnets": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}], "Architecture": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}], "leave": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "communication": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}], "when": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "fairly": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "York": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}], "Sonifier": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}], "aiming": [{"id": "06", "sentence": "aiming for the best of both worlds there."}], "visually": [{"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "upside": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "Arezzo": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "Samuel": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "staged": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "publising": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "intricate": [{"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "'d": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}], "destroys": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "embed": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}], "1981": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "videos": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "weren": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "Stefani": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "//www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "criteria": [{"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "themselves": [{"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "1999": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "milli-seconds": [{"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}], "once-current": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "cross-over": [{"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "8x12": [{"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "vertical": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "born": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "21", "sentence": "New generations are born."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}], "category": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "Good": [{"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "34", "sentence": "Good food and drinks were served."}], "Apologize": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "platter": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "void": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "cantorum": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "Schematic": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}], "repeating": [{"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "hearing": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "lack": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "informed": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "spaces": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "simultaneous": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Kristoffer": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Cradle": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Alps": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Harris": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Jaðarber": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "formal": [{"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Black": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "peculiarity": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "flawed": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}], "prophetic": [{"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "overlapping": [{"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}], "D": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "SOFTWARE": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "Nynne": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "ear": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Need": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "heard": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "MIDI": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "discuss": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "Mobil": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "studio": [{"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "extraordinary": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "image.event": [], "Quite": [{"id": "06", "sentence": "Quite the contrary."}], "audiofile": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "unintentional": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Alvin": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Beginning": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Nelle": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "this": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Placements": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "help": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "costs.": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "holds": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "Friedrich": [{"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "colour": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "Lumidee": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "refuses": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}], "detected": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "detonation": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Doing": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "Stadslimiet": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}], "fact": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "A": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "exposed": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "debut": [{"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "highly": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}], "realized": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}], "Besides": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}], "combinations": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "origin": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "eg": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "drying": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "thing": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "Institute": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "xerox": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Arachne": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "evenings": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "recherches": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "dancers": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}], "once": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "nonetheless": [{"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}], "came": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "Soundsystem": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Kuro": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "Clothes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "gained": [{"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}], "forcing": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "Tinna": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ORE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "food": [{"id": "34", "sentence": "Good food and drinks were served."}], "Hilde": [{"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "lure": [{"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "MAX": [{"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "interweaving": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Navid": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "forget": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "Class": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "floppydrive": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}], "appointment": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "documenting": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}], "two": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Out": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Piksel": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Al2O3": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "scratched": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "solfège": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "AEX": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "transform": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "Baby": [{"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Break": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "respond": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}], "Tyfus": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}], "December": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "interferometry": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "re-use": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "Those": [{"id": "28", "sentence": "Those recordings symbolise the stasis of time."}], "setups": [{"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "collaborating": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "toying": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "contrast": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "we-make-money-not-art.com": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "interpretable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "ruled": [{"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}], "cutting": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "assisting": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Moving": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "let": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Still": [{"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "evolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "interpret": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "harmonies": [{"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}], "Kunsthal": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "created": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "displacement": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "increasingly": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "engaged": [{"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "van": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "poem": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "echoed": [{"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}], "situations": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "keeps": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "interwoven": [{"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "Ch": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Uses": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}], "Noise": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "seminar": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "completed": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Singer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "doesn": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "2019": [{"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Fusinato": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Over": [{"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}], "consisting": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "that": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Project": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "aspect": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "controls": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "initiated": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "spodumene": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Drip": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Junior": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "thinking": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}], "translation": [{"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}], "thick": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Tiesto": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "vries": [{"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "pairs": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "friend": [{"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "radical": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "scola": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "broader": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "Valentino": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "affirming": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "quote": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "reinterpret": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "comparisons": [{"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "micro": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "NIEK": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Vanhoof": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "entire": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "recordstore": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "about": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "Marclay": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "Dark": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "//macumbista.net/": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "tunnel": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Are": [{"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "dummy": [{"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}], "mass": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "sensual": [{"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}], "Canada": [{"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Boxes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "boom": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "younger": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}], "'ve": [{"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "dissatisfied": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "Tata": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Dykeenies": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "stories": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "manifesto": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}], "tremble": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "points": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "de": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "America": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "remix": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "Shayna": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "ten": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "States": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "fought": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "Forever": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "range": [{"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "submit": [{"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "beneath": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "propensity": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "lifted": [{"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}], "country": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "basements": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "stressed": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "scripture": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "species": [{"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "re-vegetation": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Fil": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}], "developing": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "sheer": [{"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}], "Graphic": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "pulses": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}], "Travis": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Aloud": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "'WdW": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "'m": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}], "Timisoara": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "pauses": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "second": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "courses": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Anarchy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "consonants": [{"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}], "maximum": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "distribution": [{"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "EVP.John": [], "BUMA-STEMRA": [{"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "sent": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "string": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "What": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "umhverfis": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "curves": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "n't": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "archiving": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "Long": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "saying": [{"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}], "characterised": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "'Noise": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "ethos": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Office": [{"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}], "layers": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}], "Explorer": [{"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "outside": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Scherzinger": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "funding": [{"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "19:00hrs": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "muttering": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "Mn": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "impact": [{"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Ellis": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "curating": [{"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}], "University": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "yet": [{"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Lumiere": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "graphic": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Steinn": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "instruments..": [{"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "making": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "flux": [{"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "transcriptions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "caverns": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "test": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}], "BLADEL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "complexity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Synthesizer": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "geologists": [{"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "sided": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "mortal": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "actuality": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "shouldn": [{"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}], "crackles": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "increased": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Faulkner": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "if": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "vectors": [{"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "songs": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "periodic": [{"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "its": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Rutt-Etra": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "UNI": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}], "Red": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "Official": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "understand": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "restrictions": [{"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "Eventually": [{"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "lautpoesie": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "speculative": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "amount": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "allowed": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "Dennis": [{"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "manifest": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Vleeshal": [{"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "were": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}], "mill": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "pit": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "frame": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "deterministic": [{"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "motion": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "stylus": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "'Pa-Ra-Di-So": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "productive": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "aura": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "graphical": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Stereolab": [{"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "clear": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "showed": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}], "More": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "models": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Albert-Ludwigs-Universität": [{"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}], "translated": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "wizardry": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}], "Karaoke": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "NL": [{"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}], "Bologna": [{"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}], "grew": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "s": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Why so?"}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "documentary": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "properly": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "vitality": [{"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}], "environment": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "SKAR": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "what": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "forced": [{"id": "28", "sentence": "Were they forced up North by circumstances?"}], "increasing": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "engine": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "life": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Naturalis": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "motto": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "until": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}], "adapters": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}], "built": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Bowtie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Higinbotham": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Bünnagel": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "relatively": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}], "DOB094": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "millions": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "approached": [{"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}], "proposes": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "1960s": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}], "move": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "interweaves": [{"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "Wars": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "level": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}], "role": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "Best": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "beyond": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "'si": [{"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "data.perseus.org/citations/urn": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "condition": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "vanished": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "1985": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "down": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "easy": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Directorate": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "year": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "pattern": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "'ti": [{"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}], "Were": [{"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}], "Maiden": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Filmmaker": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}], "central": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "apartment": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "site": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "emphasizing": [{"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Bleed": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "markers": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "creation": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "major": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Source": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "ended": [{"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "problem": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "Dagger": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "angle": [{"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "newly": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "Lierman": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "deep": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "LAFMS": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}], "try": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "Japan": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "JUBILEE": [{"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}], "consumer": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "Cushh": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "May": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "remoteness": [{"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "outsourcing": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "MIDITrail": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "boring": [{"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Did": [{"id": "06", "sentence": "Did I mention I tend to overthink things?"}], "putting": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "digital": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Georgia": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "pushing": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Image": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "mountain": [{"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "be": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "well": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Vectrex": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "arranged": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "departure": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "fiction": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "Gwen": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "empty": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "3": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "fields": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "conflictual": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "film": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "draw": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "and/or": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}], "www.helgajakobson.com": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "take": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "sixties": [{"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}], "Hilkmann": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "greatly": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "Spahlinger": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "don": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "lifestyle": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "generate": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "screens": [{"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}], "concrète": [{"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}], "harvested": [{"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "avant": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "score": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kampen": [{"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}], "geophones": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Magnetic": [{"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}], "//macumbista.net": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "camera": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "infinite": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "recognize": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "Make": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "didactic": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}], "chosen": [{"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Hiele": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "support": [{"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}], "wants": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "found": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "band/art": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "lathe": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "founding": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "Based": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "scales": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "ROZENDAAL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "burned": [{"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "ago": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Step": [{"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "na": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "air": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "hard-": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "government": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "Using": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "composition": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "combining": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}], "Trilogy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Luv": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "background": [{"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "aan": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "spinning": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "claim": [{"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Thirteen": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "examine": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}], "purpose": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "rare": [{"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}], "explorative": [{"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "metaphor": [{"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "object": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Nixon": [{"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "ordered": [{"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}], "sizes": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "Calm": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Nicole": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}], "centre": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "physical": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Trans-acoustic": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "somehow": [{"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}], "publishing": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "installed": [{"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "releases": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "conceptually": [{"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}], "appearance": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "largely": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "facets": [{"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}], "reimagined": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "yearly": [{"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}], "privately": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "maker": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "pen": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "servant": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "introduce": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}], "location": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Before": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Sunfreakz": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "designed": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "desired": [{"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "becomes": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "DENOTING": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}], "frustrates": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "long": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "classical": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "expectation": [{"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "performing": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Director": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "haiku-like": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "pulse": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "Oct": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}], "68": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Research": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "apparatus": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "THE": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Rowan": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "considered": [{"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "notion": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "77": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Emeritus": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "legal": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "witchcraft": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}], "2313": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "Jakobson": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}], "generated": [{"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}], "NO": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "prints": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}], "Backfire": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "magnet": [{"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "hip": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "experience": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "ongoingness": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "chemicals": [{"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}], "arpeggios": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "-Ana": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "sleeves": [{"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}], "album": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "few": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "Prins": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "July": [{"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}], "Whether": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "artistic": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Huellkurven": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "visible": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}], "co-curates": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Beware": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "//www.kreidler-net.de": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Pierre": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "gave": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "Justin": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}], "misuse": [{"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}], "soundproof": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "popularity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "bit": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "owner": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "processors": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}], "hop": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "M.": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "Guide": [{"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "new..": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "handle": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "discarded": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "Stuttering": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "interventions": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Maffia": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "mixing": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "sped": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}], "Annie": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "regarded": [{"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}], "visited": [{"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "anime": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "xenotime": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "interference": [{"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}], "Pinkie": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "most": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "enables": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}], "Gates": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "million": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "display": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "BOWTIE//": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "commodity": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Review": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "dated": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "ArtEZ": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "or": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "loosen": [{"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}], "continues": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "Sand": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "-century": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "earlier": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}], "folkoristic": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "participate": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "reveals": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "builder": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "snowfall": [{"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "records": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "non-profit": [{"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "authority": [{"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "selected": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}], "slow": [{"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "//macumbista.netType": [], "animation": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}], "investigative": [{"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}], "waveform": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}], "Courteeners": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Delacourt": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}], "depicting": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "Gun": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "regular": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "//www.newcriticals.com/deep-mining-deep-time/page-3": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "signals": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "teach": [{"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}], "nuclear": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "bad": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "incipience": [{"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "use": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "Want": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "scholarly": [{"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "particular": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "vocation": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "ones": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Cage": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}], "makes": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "numerical": [{"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}], "bequeathed": [{"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "implementation": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "communicate": [{"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "index": [{"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}], "Ping": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "reveal": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "According": [{"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "WHAT": [{"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}], "Børup": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "possible": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Dancefloor": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "paper": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Lennox": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "mapped": [{"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}], "Douga": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "search": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "18": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "preserved": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Pay2Print": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "peer": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}], "57th": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "It": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "generators": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "students": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "participants": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "engaging": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "asked": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "cybernetics": [{"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "microscopic": [{"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Friends": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "local": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "DE": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "intrigued": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}], "invents": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Copperman": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "implosions": [{"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Killers": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "engagement": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "1960": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}], "His": [{"id": "01", "sentence": "His best ones."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "ore.": [{"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "Grinder": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "decided": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "hacking": [{"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "playable": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "signature": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "distils": [{"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "Shins": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "newspapers": [{"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "portable": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "1977": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}], "springs": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Shoulder": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "acts": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "prompting": [{"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}], "next": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Universiteit": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "finally": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}], "Pres": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "perfectly": [{"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "Gnarls": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "medium": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "..a": [{"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "multicultural": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}], "women": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "33-second": [{"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}], "least": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "he": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "church": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "Woody": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "2002": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "oscillate": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "study": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "S.L.Á.T.U.R.": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "rhythm": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "just": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}], "tetrahedrite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Zürich": [{"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "projections": [{"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "labor": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Manic": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "described": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Jacques": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "Armageddon": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "storage": [{"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "Coming": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "Bute": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "evolution": [{"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "own": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "representations": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "metrostation": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "announcements": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "strategy": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}], "Vehicle": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "lecture": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "Zone": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "lend": [{"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "consent": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "flushed": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}], "contributed": [{"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "INFORMATIVE": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "Right": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "spotlighted": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "VAN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "Czech": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}], "Grandmother": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}], "performer": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "cassette": [{"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "150": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "Telcosystems": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}], "70": [{"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Charlotte": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "0.2": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "examples": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}], "improv": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Every": [{"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}], "S": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "prostitute": [{"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}], "ready": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "sense": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "card": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "playability/repeatability": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "from": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "emotions": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "2D": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "demo": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "Þórðarsson": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "WiFi": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "invented": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}], "Lasha": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "floor": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Japanese": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "DUPAC": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "open": [{"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Zwart": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "event": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "preparations": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Nadine": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "*": [{"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Team": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Helsinki": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "television": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "MARTENS": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "language": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "LCD": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "factories": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "does": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "special": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "absorbed": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}], "they": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "JUSTIN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}], "convinced": [{"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}], "Melanie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "vehicle": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "standardised": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Gris": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "-Julia": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Johnson": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "1958": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "impossible": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Keane": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "she": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Douglas": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "parameters": [{"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "Sreeuwenberg": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "visuals": [{"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "part": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}], "results": [{"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Pushing": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "Chokehold": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Press": [{"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "by": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "satisfying": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "Pieces": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "extended": [{"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "of": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "instrument-builder": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "langbeinite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Huelkorven": [{"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}], "fast-paced": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "installations": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "Empty": [{"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}], "DIY": [{"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}], "Again": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "boundaries": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "shy": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}], "tgarde": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "Amersfoort": [{"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}], "Four": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "marvelling": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "perspective": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "surrounding": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "Nov": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "audio": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "control": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "Jordanaires": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "guy": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "tracks": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "mostly": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "Meanwhile": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}], "public": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Chico": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "knowledge": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "contain": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "tried-and-failed": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "determining": [{"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}], "counterpoints": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "technical": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}], "recognition": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "Brian": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "LINKS": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Anyway": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "editing": [{"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Ne-Yo": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "promoting": [{"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}], "resistance": [{"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}], "François": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "duration": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "agreed": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}], "operation": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}], "arriving": [{"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}], "resemble": [{"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}], "quo": [{"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}], "500": [{"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "lesser": [{"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}], "working": [{"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "rules": [{"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}], "Roberta": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "chemist": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "//monoskop.org/Concrete_poetryDE": [], "miss": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "ascending": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "SiO2": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "point": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "organization": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Design": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "freely": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "Atari": [{"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}], "Davis": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "framed": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "house": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "companies": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "It is important for companies to manage this."}], "Desecration": [{"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}], "drawn": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}], "mid-twentieth": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "Finnendahl": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "1980": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "mortals": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "laboratory": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}], "BBC": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Two": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "anything": [{"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}], "cubic": [{"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}], "Reconstruction": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}], "poetry.George": [], "samples": [{"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "Emma": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Bang": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Maiguashca": [{"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}], "rhythms": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "City": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "effort": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}], "Rhythm": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}], "town": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}], "intense": [{"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Crash": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "Serduchka": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "conducting": [{"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}], "ethicsWe": [], "Platinum": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "ephemerality": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "compressed": [{"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "spilling": [{"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "remarkable": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "would": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}], "overwritable": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "Bad": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "reader": [{"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "installational": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "propositions": [{"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "line": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Duo": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Raspberry": [{"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "recognisable": [{"id": "06", "sentence": "Does this sound recognisable to you?"}], "existence": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "label.Helga": [], "counterparts": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "otherwise": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "Tom": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Esther": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "day": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}], "whatever": [{"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}], "Myers": [{"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "3D": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "two-stave": [{"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "provocative": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}], "dematerialization": [{"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}], "demonstration": [{"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}], "young": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "sedimentologists": [{"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}], "These": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "activated": [{"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}], "earth": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "Despite": [{"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "felt": [{"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "lectures": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}], "cultural": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "stone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}], "biotope": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "virtuosic": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Book": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Will": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Reykjavík": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "workshops": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "exploring": [{"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "smart": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}], "youth": [{"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}], "reformulation": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "groups": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Easy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "principium": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "outhouse": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "awareness": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "similarities": [{"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}], "project": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Luuk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Beyonce": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "underlies": [{"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}], "Pure": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "Proclaimers": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "materialised": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}], "artwork": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "crazy": [{"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}], "sessions": [{"id": "06", "sentence": "-You do it in short sessions, hah."}], "-Piet": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "interview": [{"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}], "situation": [{"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "loud": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "involving": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "indeterministic": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "geology": [{"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "Glasgow": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "hated": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}], "notated": [{"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}], "co-founder": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}], "trains": [{"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "acoustic": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "artificial": [{"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}], "Presented": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "timelines": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "Historia": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "dare": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "Vegetable": [{"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}], "singularly": [{"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "voices": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "Battle": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "plate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}], "rockets": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}], "signs": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Verostko": [{"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "gold": [{"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "veins": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "four-in-a-row": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}], "Manhattan": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "belief": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Cruce": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "theater": [{"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "commission": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}], "//ygourdon.net/": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "board": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "practical": [{"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}], "demands": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}], "WE": [{"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}], "blue": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "indicator": [{"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "count": [{"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "wrote": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "live": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "Andrew": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Start": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "shit": [{"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}], "Beautiful": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "name": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "objects": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "samtök": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}], "decades": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}], "//www.deplayer.nl/releases/principium-20": [{"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}], "continue": [{"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}], "treat": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "ERA": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Angola": [{"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}], "oriented": [{"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "custom-built": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "peculiar": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "over": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Life": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "periphery": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "Kimmy": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "intensity": [{"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "mind": [{"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "amateurs": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "Musicales": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}], "keen": [{"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "imaginary": [{"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "scripting": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "struggles": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "paintwork": [{"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}], "student": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Than": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "and": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "I": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "People who make black MIDIs are known as blackers."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "purposes": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "mathematical": [{"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}], "tipped": [{"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "Biennale": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "CCA": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "include": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}], "carrier": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "Down": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Darmstädt": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Am": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "Rostock": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "Technocultural": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "Gon": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "copies": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "border": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}], "encounter": [{"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "Moholy": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "Ylva": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Mar": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "scontemporary": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "instrumentation": [{"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Russia": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "identity": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "anxieties": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "explosion": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Defne": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "Feldman": [{"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "Lily": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "perspex": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "through": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "quietest": [{"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "wrangling": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "jumpcuts": [{"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}], "Could": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "drawing": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "physically": [{"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}], "Maynooth": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "prototype": [{"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}], "complicated": [{"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}], "map": [{"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "Carlson": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "IR2016": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "check": [{"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}], "nonsense": [{"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}], "//www.bmbcon.demon.nl/justin/": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "Defun": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "Nations": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "audible": [{"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}], "spun": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "Ecology": [{"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "David": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "waveforms": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}], "here": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "resulting": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "processes": [{"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "hour": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}], "product": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "speculatively": [{"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}], "adds": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}], "coming": [{"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Maurice": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "chants": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "varied": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}], "drive": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "exercise": [{"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}], "produce": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "learn": [{"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "never": [{"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}], "Kürten": [{"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}], "Hour": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "'graphic": [{"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "intention": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "thousands": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "generation": [{"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "21", "sentence": "New generations are born."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "containing": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Her": [{"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "internet": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}], "Cupid": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "human": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}], "TGC": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "before": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "Nancarrow": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Wheels": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Notation": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "Writers": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Scores.Guðmundur": [], "reinterpretations": [{"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}], "Brosi": [{"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "books": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "starts": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "against": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "28", "sentence": "If you work against it, it will kill you."}], "Clean": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "parking": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "entrance": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Metrostation": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Abstract": [{"id": "06", "sentence": "Abstract poetry."}], "harmonic": [{"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}], "GRM": [{"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "Mass": [{"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "main": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}], "materiality": [{"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}], "Sophie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Zeus": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "there": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "sat": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "U.N.": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "spider": [{"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "waiting": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "Yukki": [{"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "FL": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Feist": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "imagining": [{"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "devoid": [{"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}], "reproductive": [{"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}], "Zee": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "generally": [{"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}], "psycho": [{"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "Novalis": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "After": [{"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}], "Vector": [{"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "workshop": [{"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "strong": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "Whitney": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}], "expand": [{"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Representing": [{"id": "12", "sentence": "Representing 3."}], "Virtual": [{"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Rapsodia": [{"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}], "Tøyen": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "happen": [{"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}], "6": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963"}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "AND": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}], "restricted": [{"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "writer": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "ahead": [{"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}], "awesome": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}], "Jennifer": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Even": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}], "system": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "bullet": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "9-11": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "having": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}], "mode": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "whole": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}], "software": [{"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Metropolis": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "rolls": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "Producer": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "Christmas": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "plastic": [{"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}], "via": [{"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "passed": [{"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}], "t": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "Sat, 14 & Sun."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Abstract poetry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Really great stuff."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "What was the problem?"}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "20", "sentence": "URL: http://huellkurven.net"}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Kooning": [{"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "meets": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "situ": [{"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "comes": [{"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Air": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "seismic": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "1967": [{"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}], "circuitry": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "jukebox": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}], "serve": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "'instrumentalisation": [{"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}], "magazine/object": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}], "construction": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}], "Sadier": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "true": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "argentite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "sound-text": [{"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}], "restriction": [{"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "revolving": [{"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}], "composers": [{"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "theatre": [{"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}], "Fylkingen": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "ways": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "explain": [{"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "constantly": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "feet": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Stump": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "gallery": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "Can": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}], "Thus": [{"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}], "audience": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "training": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "began": [{"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}], "performance": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Nagy": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "his": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "'real": [{"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}], "missiles": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "1.0": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}], "Iglesias": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}], "aspirations": [{"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}], "November": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "self-invented": [{"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "naive": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}], "stage": [{"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "conceptualization": [{"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "Working": [{"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "Working with sound performance and art installation."}], "AMVK": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "listening": [{"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Steel": [{"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "Patrol": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Amsterdam": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}], "getting": [{"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "indicated": [{"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}], "delve": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "Wolfsberger": [{"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "intensified": [{"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}], "matter": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}], "Circulaire": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "filters": [{"id": "28", "sentence": "I apply filters, use electronics."}], "Things": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "sum": [{"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "position": [{"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "five": [{"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}], "sonar": [{"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}], "Icelandic": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "personifying": [{"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "0.35": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "something": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "needed": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}], "positions": [{"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "earthquakes": [{"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}], "regeneration": [{"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}], "Presentation": [{"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "natural": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "activate": [{"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}], "appealing": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}], "Extra": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "Þosteinsdóttir": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "publication": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Flintstone": [{"id": "02", "sentence": "“feed Flintstone meets 21st century”."}], "Pipkin": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "blank": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}], "view": [{"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "performs": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}], "Only": [{"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}], "explains": [{"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}], "Curran": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "employed": [{"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "heating": [{"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "expanded": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "R.": [{"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}], "edition": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}], "stores": [{"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "self-aware": [{"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}], "files": [{"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Spreeuwenberg": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "whether": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "design": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "New": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "21", "sentence": "New generations are born."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "we": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "Good food and drinks were served."}], "literally": [{"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}], "real.Remco": [], "dead": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "At": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "develop": [{"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "inclinations": [{"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}], "western": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}], "Dave": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "knew": [{"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}], "switch": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}], "structural": [{"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}], "sphalerite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "areas": [{"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}], "mountains": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "Ball": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}], "initiate": [{"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}], "counts": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}], "overlap": [{"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}], "double": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "playing": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "mystery": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "Broken": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}], "ambiance": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "favourite": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}], "copied": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "stefan-smulovitz": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "Tube": [{"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "denote": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}], "mean": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}], "All": [{"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "stuck": [{"id": "25", "sentence": "The system was therefore completely stuck."}], "Perfect": [{"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "figures": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}], "Lazlo": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "garnered": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "drug": [{"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}], "yield": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "edit": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "eyes": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "spontaneity": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "documentation": [{"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "testing": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "Francisco": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "Also": [{"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "non-musical": [{"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}], "scheelite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "been": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}], "dimension": [{"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "excursions": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "Bennet": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "publish": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}], "organ": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "references": [{"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "hopefully": [{"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}], "psyche": [{"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}], "entity": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "The style / genre determines the identity."}], "where": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "ecology": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "NIEA": [{"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "setup": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}], "recognise": [{"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "collective": [{"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "repertoire": [{"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}], "sampling": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "Ensemble": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "displayed": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "interacting": [{"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}], "Popularity": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "appropriates": [{"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}], "along": [{"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "jpeg": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "runs": [{"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "ceiling": [{"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}], "Currently": [{"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}], "flow": [{"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}], "architecture": [{"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}], "go": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "Fratelli": [{"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "eliminate": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "international": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "reproduction": [{"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "printed": [{"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "Sacrificing": [{"id": "12", "sentence": "Sacrificing 2."}], "Stained": [{"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}], "1972": [{"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "knowing": [{"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}], "executive": [{"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}], "exchanging": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}], "concret": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "In": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "cut": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "right": [{"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}], "//kraak.net/festival2017/artist/hiele-martens": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Shoes": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "animals": [{"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "execute": [{"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "execution..": [{"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}], "probably": [{"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}], "Presley": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "letting": [{"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}], "Lopez": [{"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "Witte": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "more": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "also": [{"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "plus": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "risk": [{"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "afforded": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}], "organisations": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}], "colours": [{"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "From": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "waves": [{"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}], "initial": [{"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}], "scores": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "get": [{"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "You have to take a boat to get there."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "power": [{"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}], "explored": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "'work": [{"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}], "multi": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}], "Foals": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Maashaven": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Acts": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}], "tonality": [{"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}], "-You": [{"id": "06", "sentence": "-You do it in short sessions, hah."}], "responds": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}], "Within": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}], "myself": [{"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}], "application": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}], "video": [{"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}], "Body": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Gudmundur": [{"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}], "unveil": [{"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Gods": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "enter": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}], "Gym": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "0.03": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "forming": [{"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}], "Tokyo": [{"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "happened": [{"id": "06", "sentence": "So that’s what happened."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "What shifts happened in the past?"}], "0.15mm": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "tool": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}], "JOHANNES": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Holzer": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "Franklin": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "intertwined": [{"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}], "work": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "celestial": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "EVP": [{"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}], "uploaded": [{"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "Paramore": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "biotopes": [{"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "relations": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Girls": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Jazz": [{"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}], "baleful": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}], "animal": [{"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}], "kind": [{"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}], "VECTORIAN": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "27": [{"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "education": [{"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}], "II": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "rpm": [{"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}], "Next": [{"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "Why": [{"id": "06", "sentence": "Why so?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}], "pz": [{"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}], "ensure": [{"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "accompanied": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "Giralt": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "sensors": [{"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}], "het": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "differ": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "provided": [{"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}], "machine": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}], "shape": [{"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}], "early-": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "longer": [{"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}], "located": [{"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "acoustics": [{"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}], "died": [{"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}], "ore": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before language there was the song."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "The system was therefore completely stuck."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "exact": [{"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "comments": [{"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}], "Dates": [{"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}], "Sweden": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Go": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "34", "sentence": "Good food and drinks were served."}], "Caillat": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "relates": [{"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}], "SMITH": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}], "continued": [{"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}], "maybe": [{"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}], "Stemra": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "grey": [{"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}], "hang": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}], "patterns": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "moving": [{"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "Wait": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Give": [{"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}], "sits": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "d": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So that’s what happened."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "And I follow that."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "And a statement.."}, {"id": "06", "sentence": "I don’t know."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "Or as a collage record?"}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "The records come from Angola, Portugal and Canada."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "On a Saturday from 09.00 to 17.00 hrs."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Dukalska": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "old": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}], "considers": [{"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}], "drafts": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}], "generates": [{"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}], "Australia": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}], "established": [{"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "González": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}], "hosting": [{"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}], "weeks": [{"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}], "nomadic": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "Gudmunder": [{"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}], "compactly": [{"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "VECTOR": [{"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "//www.kreidler-net.de/productplacements-e.html": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}], "same": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "presented": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}], "place": [{"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "virtual": [{"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}], "hands": [{"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Paul": [{"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "facsimile": [{"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "grids": [{"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}], "taught": [{"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}], "in/out": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}], "useful": [{"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}], "poly": [{"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}], "source": [{"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "petalite": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "largest": [{"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}], "Kerckhoven": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "path": [{"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}], "appeared": [{"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}], "wove": [{"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}], "comet": [{"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}], "laid": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "Carey": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "Venice": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}], "made": [{"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "many": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "Days": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "civil": [{"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "became": [{"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}], "Con": [{"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "acousmatic": [{"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}], "instance": [{"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}], "got": [{"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}], "Gunnarsson": [{"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}], "doing": [{"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}], "addition": [{"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}], "Far": [{"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}], "tones": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "manmade": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "Fergie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "it.FERSTEINN": [], "Plasticism": [{"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}], "kid": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}], "Stone": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "McCartney": [{"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}], "bullets": [{"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}], "styles": [{"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "cabinet": [{"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}], "realize": [{"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}], "tune": [{"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "24": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "missed": [{"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}], "very": [{"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "concentration": [{"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "MS20": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}], "below": [{"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}], "said": [{"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}], "familiar": [{"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "Music": [{"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "bite": [{"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Michael": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}], "Wi-Fi": [{"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}], "mediation": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "Hanover": [{"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}], "articulate": [{"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}], "tapestry": [{"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}], "curdy": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "tempo": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}], "Gregorian": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}], "sale": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "BY": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "practices": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}], "Basically": [{"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}], "especially": [{"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "Connecting": [{"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}], "billions": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}], "last": [{"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}], "Nilsen": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "Potassium": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "satisfaction": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}], "footwork": [{"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}], "sooner": [{"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}], "VanHoof": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}], "Sagamihara": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "extra": [{"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "punched": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}], "unite": [{"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}], "fair": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "depends": [{"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}], "interested": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}], "phenomena": [{"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "filtering": [{"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}], "explosions": [{"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}], "reflective": [{"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}], "descending": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Cascada": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "seeking": [{"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}], "Sound": [{"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "theoretical/historical": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "soundings": [{"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}], "guise": [{"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}], "H2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "operating": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "pragmatical": [{"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}], "3rd": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "representing": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "WIELS": [{"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "lost": [{"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}], "software/noise": [{"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}], "scarsely": [{"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}], "cheironmy": [{"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}], "mystique": [{"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}], "direct": [{"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}], "Iraqi": [{"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}], "Sláturtíð": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "present": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "so-called": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}], "Carolyna": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "discourse": [{"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}], "remco": [{"id": "04", "sentence": "http://www.remcovanbladel.nl/"}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}], "Simpson": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "month": [{"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}], "these": [{"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "cleave": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "national": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "fixed": [{"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}], "lays": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}], "//17.piksel.no/": [{"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}], "Sonido": [{"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}], "stay": [{"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}], "Kirkenes": [{"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "asunder": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "drinks": [{"id": "34", "sentence": "Good food and drinks were served."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Remark": [{"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}], "opera": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}], "CRUSH": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "hundreds": [{"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "I had hundreds of cassette tapes, mostly TDK."}], "instantaneously": [{"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}], "PZI_XPUB": [{"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}], "Daniel": [{"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}], "market": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}], "pulsations": [{"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}], "only": [{"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Festival": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}], "fragility": [{"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}], "Fersteinn": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}], "lapse": [{"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}], "street": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}], "hurry": [{"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}], "Dunkelmann": [{"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}], "treated": [{"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "supposed": [{"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}], "canvas": [{"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}], "Concrete": [{"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "21", "sentence": "https://monoskop.org/Concrete_poetry"}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "MAT": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}], "Ingi": [{"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}], "Night": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "pretty": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}], "Program": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "hospital": [{"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}], "coloured": [{"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}], "converting": [{"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}], "Bladel": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}], "juxtaposition": [{"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}], "alone": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}], "grahic": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "execution": [{"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}], "mineral": [{"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}], "precursor": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "shows": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "events": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}], "National": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}], "co-curator": [{"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}], "clever": [{"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}], "065": [{"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "Embodiment": [{"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}], "plant": [{"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}], "page": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "Vasulka": [{"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Cobra": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "IRREGULAR": [{"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}], "select": [{"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}], "Andre": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "soundscapes": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "ride": [{"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}], "delacourt": [{"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}], "mysterious": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "new": [{"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}], "Elder": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "standard": [{"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "Will.I.Am": [{"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}], "For": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}], "Paik": [{"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "me.": [{"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}], "//macumbista.netWe": [], "S.": [{"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}], "languages": [{"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}], "incentive": [{"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "side": [{"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}], "beautifully": [{"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}], "logistics": [{"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Books": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Aalto": [{"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}], "telephone": [{"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}], "flat-on-your-ass": [{"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}], "arctic": [{"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}], "Lætitia": [{"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}], "Investigation": [{"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}], "tied": [{"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "six-notes": [{"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}], "security": [{"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}], "genres": [{"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}], "lines": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "worthwhile": [{"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}], "alchemy": [{"id": "28", "sentence": "It’s a kind of sound alchemy."}], "fine-tuned": [{"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}], "blurring": [{"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "tiny": [{"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}], "She": [{"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}], "manipulate": [{"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}], "beats": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "piano": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}], "park": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}], "Memory": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "creating": [{"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}], "reading": [{"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "Soulja": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}], "i": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can a tune be translated into an image?"}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "So far Evelin Brosi."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "His best ones."}, {"id": "01", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "01", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "01", "sentence": "The complete selection of scores is published in a music book."}, {"id": "01", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "01", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "01", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Throughout 2016 and 2018, this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "01", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts."}, {"id": "01", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come."}, {"id": "02", "sentence": "Concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "02", "sentence": "We proposed them to make a publication in our Tetra Gamma Circulaire."}, {"id": "02", "sentence": "This is a magazine without any format and meant to be developed each time."}, {"id": "02", "sentence": "We worked around the idea of Pushing Scores."}, {"id": "02", "sentence": "each student had to develop its own project around the proces of making a score."}, {"id": "02", "sentence": "All these scores had to come together in one magazine/object."}, {"id": "02", "sentence": "The restriction was made that the scores had to be presented on floppy disc."}, {"id": "02", "sentence": "This was to limit possibilities and also to unite the format."}, {"id": "02", "sentence": "The result is a mix of several media."}, {"id": "02", "sentence": "All comes together in a designed concrete object."}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "02", "sentence": "A Raspberry Pi is the core which is programmed for several applications."}, {"id": "02", "sentence": "Besides that there is a floppy drive, speakers, audio input, a camera, touchpads, LED light."}, {"id": "03", "sentence": "Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Type of object: event title:Principium 2.0 date: 2 July 2017 location: Stadslimiet Antwerp artist: Remörk, Kris Delacourt"}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies."}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "Next to that there will be graphic works by students of ArtEZ Arnhem - Graphic Design."}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "He focuses mainly on acoustic phenomena that have a dynamic relationship with their environment."}, {"id": "04", "sentence": "Every aspect of his work deals with quality of sound."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "Visual and audio intensified perceptions in a specific space."}, {"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "04", "sentence": "He is also an art book publisher ('Onomatopee', 'WdW Review')."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "04", "sentence": "He is a typography and graphic design tutor at ArtEZ — Art and Design, Arnhem and is a frequent guest teacher at art schools throughout the Netherlands and abroad."}, {"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}, {"id": "04", "sentence": "I knew the work of Charlemagne and we have met already in earlier events so it was clear we could do something that makes sense."}, {"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}, {"id": "04", "sentence": "Nevertheless, he showed me some books he once made in New York of which he said that those ones are to be seen as musical scores."}, {"id": "04", "sentence": "They are cheap dummy books on which he poured ink in several colors."}, {"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "04", "sentence": "These books were the starting point of curating the event which we fitted in our Pushing Scores project."}, {"id": "04", "sentence": "Yann Gourdon was asked to do a hurry curdy noisette while these books were being projected page by page on the wall."}, {"id": "04", "sentence": "Rafael Rozendaal showed his web work ‘Slow Empty’, which functioned as a real clockwork for the event."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "04", "sentence": "Justin Bennet showed his project Shot Gun Architecture and remco van Bladel introduced our project Pushing Scores by doing a reading on historical en contemporary graphic scores and the concepts behind it."}, {"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier' artist: Vaast Colson Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Vaast Colson we know already for quite a while as an interesting artist."}, {"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "05", "sentence": "This can be a performance , object, book or whatever."}, {"id": "05", "sentence": "We worked with Kris delacourt on Principium 2.0 which is a reinterpretation of Colson his work Principium and asked Colson also to work on a sound publication with him."}, {"id": "05", "sentence": "He came up with this idea of the Xerox copier which makes in a run the audio, the booklet as well as the printed image."}, {"id": "05", "sentence": "This printing run is to be seen as the performative action."}, {"id": "05", "sentence": "It is a complex work as well as that it is simple in its final execution."}, {"id": "05", "sentence": "Colson belongs to a younger generation of Antwerp artists who could be called ‘post-ironic’."}, {"id": "05", "sentence": "These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them."}, {"id": "05", "sentence": "Colson's works examine core questions: what power does art have to change us and our society, what emotions and ethical choices guide an artist in a process of continuous change?"}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "05", "sentence": "He opens up the artistic field and explores what is happening in the art world."}, {"id": "05", "sentence": "Everything he undertakes can thus be considered as artistic intervention."}, {"id": "05", "sentence": "In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology, and by the authentic (or not) mystique of the artist's existence, which he usually explores in his performances."}, {"id": "05", "sentence": "The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work."}, {"id": "05", "sentence": "In addition, Colson explores the commercial side of the art world and the economic consequences of artistry."}, {"id": "05", "sentence": "His works, which are regularly made in situ, are often difficult to sell."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "05", "sentence": "The making of editions can be understood in this context."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "The final installation will have all 12 separate pieces, a complete octave."}, {"id": "06", "sentence": "This piece is based on a question."}, {"id": "06", "sentence": "Vaast Colson asked Remörk to reinterpret his work 'Principium’, which was a joyful (but strictly ruled) play with sticky color dots."}, {"id": "06", "sentence": "Principium 1.0 appeared as a hacked synth reduced to a single octave, to be played with magnets on a colorful playing field, parallelling the same patterns."}, {"id": "06", "sentence": "Principium 2.0 comes as 12 records, also with this magnetic application, also following very elementary rules - some old, some new."}, {"id": "06", "sentence": "All 12 records together form the complete set which 1 'game' needs."}, {"id": "06", "sentence": "Join the community."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "We first got in touch with Principium 1.0."}, {"id": "06", "sentence": "Kris Delacourt (Remörk) made a modified Casio keyboard as a reinterpretation of Vaast Colson his work Principium."}, {"id": "06", "sentence": "We showed this piece of Remark at the ART Rotterdam and than I asked Kris if he was willing to make a publication of it."}, {"id": "06", "sentence": "Meaning a record."}, {"id": "06", "sentence": "He was ok with it but i took a long time."}, {"id": "06", "sentence": "Nevertheless finally we fine-tuned concepts and decided not to go for recordings but to embed the concept of Principium into a record and a music tool in one Principium 2.0."}, {"id": "06", "sentence": "This was quite a proces but ended up in a beautiful limited edition of 12 pieces."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "It was presented in Stadslimiet Antwerp, Belgium as an installation piece at 2 July 2015."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "Principium comes from the title of a project by Vaast Colson."}, {"id": "06", "sentence": "Colson used tiny paper sticker dots, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material; those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "All pretty nonsensical in a way but really beautiful in its result, and quite fragile."}, {"id": "06", "sentence": "Colson asked some artist to make reinterpretations of the works and from that perspective there was an idea to use them as a music score."}, {"id": "06", "sentence": "There are two booklets Colson made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that Kris Delacourt was so intrigued by the leftover sticker sheets, with their 8x12 grid that they just screamed ‘SEQUENCER!’, to him, so he went to design Principium part 1."}, {"id": "06", "sentence": "A magnetic board with the same field as the sticker sheets which he activated with magnets as a synthesizer."}, {"id": "06", "sentence": "The first version was a modified Casio keyboard."}, {"id": "06", "sentence": "He reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "The idea is to put white magnets on top of the coloured dots to kind of blank them out."}, {"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "06", "sentence": "The interview was made after showcasing the Principium 2.0 in an installation setting at Stadslimiet at >I’ve been following the principium story on your blog, which goes back to the summer of 2012, so four years ago."}, {"id": "06", "sentence": "Short version: first it was a one octave Casio keyboard, then it became 12 10\" records, then it became an 8 hour performance and eventually now a 12\" LP."}, {"id": "06", "sentence": "This is the short version, can you give me the full story?"}, {"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "06", "sentence": "At least that’s where the initial form and the name came from."}, {"id": "06", "sentence": "The works are by a friend of mine, the Belgian artist Vaast Colson."}, {"id": "06", "sentence": "He made these beautiful pieces where he used tiny paper sticker dots, you know the ones, the kind that most art galleries use to denote which works in a show have been sold."}, {"id": "06", "sentence": "Office material really, those colourful little dots."}, {"id": "06", "sentence": "What he did was draw a bunch of random lines across the sticker sheets, and since there’s 8x12 stickers on a sheet you end up with stickers with tiny line segments on them."}, {"id": "06", "sentence": "Line segments he reassembled into new shapes and new lines."}, {"id": "06", "sentence": "It’s all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile."}, {"id": "06", "sentence": "Don’t know, it just rang poetic to me."}, {"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "06", "sentence": "And at a certain point he went something like: ‘I’ve made some work that might be interesting to use as a score, would you be up for it?’."}, {"id": "06", "sentence": "So he showed me the two booklets he made with the Principium series - reproductions of each used sticker sheets and the result."}, {"id": "06", "sentence": "The funny thing was that he thought his resulting collages would be nice to use as scores - and they probably would be, it’s just that I was so intrigued by the leftover sticker sheets, with their 8x12 grid that just scream ‘SEQUENCER!’, that I went that way."}, {"id": "06", "sentence": "And the first version was indeed a modified Casio keyboard."}, {"id": "06", "sentence": "I reduced the number of keys to twelve, and added a magnetic sequencer board to it."}, {"id": "06", "sentence": "It’s an iron board, it has the same visuals as the sticker sheets, and the idea is to put white magnets on top of the coloured dots to kind of blank them out, so you end up with something analogous to taking a sticker off the sheet - a white space in a field of colour."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I was really happy with the results, and especially with the fact that it’s so inviting towards an audience."}, {"id": "06", "sentence": "It looks like a game of four-in-a-row, totally appealing to get your hands on it."}, {"id": "06", "sentence": "And I never gave it that much thought, but the fact that when you stick magnets somewhere, it makes a musical phrase - I guess to some people that would be wizardry, hah."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "And I really like it when people are enthusiastic, so I said yes, obviously."}, {"id": "06", "sentence": "But there were several reasons for me to hold back a little on the idea."}, {"id": "06", "sentence": "Well, a little, two years, actually."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "It’s meant to be in a continued state of flux."}, {"id": "06", "sentence": "The idea of just me making a record totally ignores that, to me it turns it into something really static and rigid."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "So we discussed other possibilities, like capturing a live performance, possibly even cutting records on the fly with his vinyl lathe, so you end up with all different records.. now DOB records have put out some crazy releases, really pushing the boundaries of what can be done with the medium of vinyl."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "And I don’t know, maybe a part of me wanted to be a part of that, more than just doing a ‘recording’."}, {"id": "06", "sentence": "Just recording the Casio would definitely have been one of the safer, more boring options."}, {"id": "06", "sentence": "I just felt like making another interpretation of an existing piece, instead of merely documenting it."}, {"id": "06", "sentence": "Meanwhile I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo."}, {"id": "06", "sentence": "Well, pattern programmable, but at a fixed speed."}, {"id": "06", "sentence": "So we put two and two together, and ended up doing twelve 10” lathe cuts, that came in a box with those electronic switches, 8 magnets each as based on the original grid, and a 12” metal platter to go under the 10” to stick the magnets to."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a 10 minute improvised recording on organ and MS20, playing only C notes."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "06", "sentence": "Also nice, but not really musical."}, {"id": "06", "sentence": "And I don’t mind a good concept now and then, but I guess I’m too much of a musician, so I went for what was more appealing to me musically."}, {"id": "06", "sentence": "That same 10 minute piece then was sped up for the other notes, going up in pitch and becoming shorter for each record."}, {"id": "06", "sentence": "So the C note runs for 10 minutes, the B note is something like 5 minutes 20."}, {"id": "06", "sentence": "Which also makes for much more interesting overlaps when played together."}, {"id": "06", "sentence": "I guess I do tend to overthink things, hah."}, {"id": "06", "sentence": "Peter did a great job cutting the vinyl in coloured perspex, with colours matching the paper stickers."}, {"id": "06", "sentence": "And an honourable mention to Koos of DOB who did an amazing job on designing the packaging."}, {"id": "06", "sentence": "Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that’s where we had the record presentation."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "06", "sentence": "And since I’m a sucker for random scores, I wrote myself a score generator in PureData with tons of random functions."}, {"id": "06", "sentence": "Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable, and playback volume."}, {"id": "06", "sentence": "The only thing I had any control over was where to put the magnets, determining the rhythm."}, {"id": "06", "sentence": "And since all the records have different lengths, it ended up being one long shifting overlapping piece."}, {"id": "06", "sentence": "I followed that score for 8 hours straight."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "End of piece."}, {"id": "06", "sentence": "That was an amazing moment."}, {"id": "06", "sentence": "After that, Dennis asked me if I wanted to do a release of the recordings."}, {"id": "06", "sentence": "I think initially he wanted to do a tape."}, {"id": "06", "sentence": "So I went through 8 hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance."}, {"id": "06", "sentence": "I think the idea to make a vinyl record came after Dennis heard some of the selections and thought they shouldn’t be out on tape but on vinyl instead."}, {"id": "06", "sentence": "Is this LP the final version of this project, or do you see it even evolve into next stages?"}, {"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}, {"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}, {"id": "06", "sentence": "There’s something appealing in using a single octave as a building block, there’s something appealing in the number 12 even, there’s the appeal of building instruments.."}, {"id": "06", "sentence": "I don’t think I’ve quite finished with it, no."}, {"id": "06", "sentence": "Dennis said you were not really keen on doing this record at first."}, {"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "I guess that fear was much more of an issue with DOB records."}, {"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}, {"id": "06", "sentence": "But now, having made that 12-vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "I guess my main fear was that cutting chunks out of a much larger whole, you risk losing the context - and I’m still not sure what this record sounds like to people that weren’t there."}, {"id": "06", "sentence": "I know it’s not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality."}, {"id": "06", "sentence": "I thought it worked really well as a performance, but I wanted to make sure it was good enough to be a record."}, {"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "-You do it in short sessions, hah."}, {"id": "06", "sentence": "The thing is, all 8 hours have the turntables spinning at 33 rpm, so the basic underlying tempo never changes."}, {"id": "06", "sentence": "That’s quite brutal to listen to in concentration, to be honest."}, {"id": "06", "sentence": "It took me about two months to sit through all eight hours, and put markers and comments with bits I liked more than others."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "So you end up with a first rough selection."}, {"id": "06", "sentence": "And then you go through that selection again."}, {"id": "06", "sentence": "And so on, until you really narrow it down."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}, {"id": "06", "sentence": "If something was interesting for a while, but didn’t stay interesting, it had to go."}, {"id": "06", "sentence": "I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut."}, {"id": "06", "sentence": "Do you think that, by bringing it back to an LP, you're making it easier for the listener?"}, {"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "06", "sentence": "Do you think that listening to an 8 hour performance demands another kind of concentration from the listener than listening to an LP?"}, {"id": "06", "sentence": "-There were some people there that sat through the whole thing, yes."}, {"id": "06", "sentence": "But I’m not sure if it is at all possible to listen with concentration to 8 hours of something like this."}, {"id": "06", "sentence": "And that was never the question either."}, {"id": "06", "sentence": "It was continually shifting, so it didn’t really have a beginning or an end - you could drop in any time you liked."}, {"id": "06", "sentence": "But it was pretty intense, so yes, this record is probably the light version."}, {"id": "06", "sentence": "Still, not sure if it is easy listening at all, although I think it has a beauty of it’s own."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "06", "sentence": "-I guess there was the point where I decided to just do a 10 minute organ improv, that was a bit of a turning point."}, {"id": "06", "sentence": "I could have gone for something more ‘correct’ in terms of concept - I don’t know, pure sine waves or something."}, {"id": "06", "sentence": "The improv might be one of the major flaws, actually, conceptually speaking."}, {"id": "06", "sentence": "But I really needed a break from thinking it over and just do something... plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets."}, {"id": "06", "sentence": "I like working with concepts a lot, as a starting point, but I’m also interested enough in the results to loosen up the concept if I feel it’s needed."}, {"id": "06", "sentence": "I could say that the 10\" records were vinyl records as a tool, and that this LP is a vinyl record as a product."}, {"id": "06", "sentence": "What you think about this statement?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "06", "sentence": "-The 10” records have all been sold as well, so they’re somewhere on middle ground - they were intended as a release, and therefore a product, just as well."}, {"id": "06", "sentence": "But they do form one big piece, and as far as final forms go, I guess you could consider that performance the final form of that particular piece."}, {"id": "06", "sentence": "That’s also purely pragmatical: now they’ve all been sold, it’s going to be very difficult to get all 12 of them together again for a second performance."}, {"id": "06", "sentence": "It really was a one time event, with the vinyls as a tool, yes."}, {"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}, {"id": "06", "sentence": "But it’s still a relevant idea to me, this kind of creative misuse."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "06", "sentence": "So do you see this album as a solo record or as a collaboration?"}, {"id": "06", "sentence": "-I do look at it as a solo thing."}, {"id": "06", "sentence": "You know, the music on the record came from a performance I did, based on a concept I came up with."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "But Vaast for instance refuses to regard it as his doing."}, {"id": "06", "sentence": "He always stressed, right from the start, that any interpretation I gave of his work was no longer his work."}, {"id": "06", "sentence": "They’re just new pieces in their own right."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "That’s awesome, and I’m flattered to be a part of that, but in a way it’s also what record labels are supposed to be doing, no?"}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "But musically, I still feel it’s my work."}, {"id": "06", "sentence": "And the same goes for this record on Ultra Eczema: I have to say I’m really happy we finally got an Ultra Eczema release together, it’s something Dennis had been asking for for quite some time... he’d actually given up asking."}, {"id": "06", "sentence": "But now with this thing it just seemed to fall into place perfectly."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "If you stick to the concept, you miss out on the creative aspect, which should be the most important part."}, {"id": "06", "sentence": "Otherwise you're not an artist."}, {"id": "06", "sentence": "Art is not pinning things down."}, {"id": "06", "sentence": "Art is letting things go, let it flow\"."}, {"id": "06", "sentence": "Does this sound recognisable to you?"}, {"id": "06", "sentence": "And how would you relate this quote to your LP?"}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "06", "sentence": "The notion that an idea can be just as valid and just as creative as its execution.. but anyway."}, {"id": "06", "sentence": "I for myself am always glad if I manage to turn an idea into a physical form."}, {"id": "06", "sentence": "Did I mention I tend to overthink things?"}, {"id": "06", "sentence": "So I don’t think I belong in the conceptual art section."}, {"id": "06", "sentence": "But then, I don’t fully agree that you miss out on creativity by sticking to a concept."}, {"id": "06", "sentence": "Coming up with a concept can be as much a creative process."}, {"id": "06", "sentence": "And sometimes, by sticking to it, you end up with the most unexpected results - adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself."}, {"id": "06", "sentence": "It can make you go against your natural inclinations, which does not always have to be a bad thing."}, {"id": "06", "sentence": "It can free you from repeating yourself, from your own mannerisms."}, {"id": "06", "sentence": "That’s just another way of letting things go, of giving up control."}, {"id": "06", "sentence": "The Ultra Eczema site refers to this record as your debut LP."}, {"id": "06", "sentence": "Does it feel like that for you too: as your first 'real' album, as a statement?"}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "06", "sentence": "Or maybe Dennis thinks of that series as a tool more than a product."}, {"id": "06", "sentence": "Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artists’ edition, so I know what he’s saying."}, {"id": "06", "sentence": "I don’t think of it as a manifesto or anything."}, {"id": "06", "sentence": "It’s a document of what I’m happy to be working on at the moment, and hopefully it’s something that others can enjoy as well."}, {"id": "06", "sentence": "Do you see this as a drone record?"}, {"id": "06", "sentence": "I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.."}, {"id": "06", "sentence": "I don’t feel this record has that."}, {"id": "06", "sentence": "Quite the contrary."}, {"id": "06", "sentence": "The only thing remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off."}, {"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "06", "sentence": "So this is very much a straightforward live recording of a pretty weird DJ set, if you will."}, {"id": "06", "sentence": "And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly."}, {"id": "06", "sentence": "So more drone, definitely."}, {"id": "06", "sentence": "Do you think this LP would be also enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?"}, {"id": "06", "sentence": "Or do you even think you would have failed if it wouldn't be an enjoyable record without the concept?"}, {"id": "06", "sentence": "-I certainly do hope that it’s enjoyable.. like I said, I know it’s not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all."}, {"id": "06", "sentence": "But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right."}, {"id": "06", "sentence": "aiming for the best of both worlds there."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "In our event series during the Pushing Scores project we programmed this evening after we got in touch with the resonant publication of Telcosystems."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "They did a reading on the concepts and necessity of the project as well as all the implications it had in its development and production."}, {"id": "07", "sentence": "To complete the event we searched for 2 completely different angles on composing."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "07", "sentence": "He came over to do a reading on Schematic as a score and did a live set on Tektronix Oscilloscope Music."}, {"id": "07", "sentence": "Julia Buennagel was invited to do a more physical input."}, {"id": "07", "sentence": "She works with prepared records and played a live set."}, {"id": "07", "sentence": "about prepared records: The record or musical piece in these cases is not used as a reproductive technique."}, {"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "The defective record and not the even, smooth reproduction means quality and concept at the same time."}, {"id": "07", "sentence": "Lazlo Moholy Nagy said about this in the perspective of New Plasticism that it lies in the peculiarity of human nature that: “The abuse and misunderstanding are nessecary to gain result."}, {"id": "07", "sentence": "It is nessecary for evolution and survival."}, {"id": "07", "sentence": "After every new recording the functioning apparatus is pushed ahead to further new impressions."}, {"id": "07", "sentence": "That is one of the reasons for the necessity to always continue experiments in New Plasticism."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "07", "sentence": "As production, meaning here productive creation, above all serves the human condition, we must attempt to further our purposes of creative production through the uses of those apparatuses or methods which until now have been used only for reproduction purposes.” In 1989 the Broken Music exhibition was held in Berlin at the DAAD gallery with work by, among others, Nam June Paik, John Cage, Milan Knížák, Christian Marclay."}, {"id": "07", "sentence": "All had lifted the medium (the vinyl record) over themselves and added a new use / application."}, {"id": "07", "sentence": "Whether or not as an installation to be played by the public or as a plastic work in which the plate was transformed, mutated."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}, {"id": "07", "sentence": "The book which came along with the exhibition has recently been republished."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": " -With Resonanz, Telcosystems presents an electronic book, combining a series of visual artworks with a sound publication in one."}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "07", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "07", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "07", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "07", "sentence": "“Resonanz is an electronic book that I had first dismissed."}, {"id": "07", "sentence": "Until i tried it."}, {"id": "07", "sentence": "As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack."}, {"id": "07", "sentence": "It’s strangely hypnotizing."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "Working with sound performance and art installation."}, {"id": "07", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "07", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "07", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "07", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "07", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "An annual art fair in which commercial galleries as well as initiatives take part."}, {"id": "08", "sentence": "The Intersection part is where the initiatives gather."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "08", "sentence": "We decided to set up a framework as if it was a three dimensional staff to write down music."}, {"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "09", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "09", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "09", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "09", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "09", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "09", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "https://xpub.pzimediadesign.nl www.facebook.com/xpub.pietzwart"}, {"id": "09", "sentence": "-Piet Zwart Institute > TGC #3 seminar + live event Together with the Experimental Publishing team of the Master of Media Design students of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam, a seminar was organized for the students in a period of 3 months in which the principles of Pushing the Score were leading."}, {"id": "09", "sentence": "A publication was taken as a joint focal point, the form of which could be determined in more detail."}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "09", "sentence": "Each student could design his/her own project on this medium."}, {"id": "09", "sentence": "The idea of a score functioned as a guideline to shape their project and to test the work process."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "It is an experimental platform designed for sonic experiments, instruments and installations."}, {"id": "09", "sentence": "Concretely, a designed concrete object in which various techniques are incorporated."}, {"id": "09", "sentence": "Its core consists of a floppy drive and a Raspberry Pi platform, on which a local wifi station, a camera, audio in/out, touch sensors, LED lighting are realized."}, {"id": "09", "sentence": "The local wifi station makes it possible to access all projects (on floppy) by receiving these projects on mobile phone or on the computer."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "09", "sentence": "Most projects are aimed at interaction with an audience (one or more people)."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "09", "sentence": "Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance that improvisation can offer."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "10", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "10", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "10", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "10", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "She played a set in which she used her computer to generate sound by live programming."}, {"id": "10", "sentence": "It was a good concert and het concept of working fitted very well in our ideas of exploring graphic scores."}, {"id": "10", "sentence": "Her score was made on the spot with programming language."}, {"id": "10", "sentence": "A sort of live coding."}, {"id": "10", "sentence": "The Artkillart label operates from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art."}, {"id": "10", "sentence": "In reaction to the dematerialization of music (the general disappearance of music released in its physical form), the artists of the Artkillart label roster refocus their releases as material objects."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation."}, {"id": "10", "sentence": "She approaches computer systems via inductive microphones for magnetic fields, so-called “telephone adapters.\""}, {"id": "10", "sentence": "With choreographies for software and computer elements, she utilizes these as actors in software/noise pieces for, and in, computers."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "10", "sentence": "Software being processed creates own temporal and spatial dimensions, which are staged for a public."}, {"id": "10", "sentence": "She aims for a sensual experience of the analytical sphere becoming concrete, where logic encounters the physical world."}, {"id": "10", "sentence": "The mechanic noises serve as mediators to a public."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "10", "sentence": "https://harddisko.ch"}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "11", "sentence": "In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la."}, {"id": "11", "sentence": "Later the seventh tone 'si' was added."}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "Paradiso invited Remco van Bladel to take part in their Small Museum project."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "The idea was to create a choir with mobile phones for the audience waiting to get in of the Dutch pop tempel Paradiso."}, {"id": "11", "sentence": "The work: The work was installed for a period at The Small Museum; a cabinet on the facade of Paradiso, Amsterdam."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}, {"id": "11", "sentence": "In eleventh century Italy, the music theorist Guido of Arezzo developed an ascending scale consisting of six-notes: ut, re, mi, fa, sol and la."}, {"id": "11", "sentence": "A 7th note, 'si' or 'ti', was added later."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}, {"id": "11", "sentence": "The Small Museum, which was used for the public announcements of the church, will be transformed into a local wifi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia'."}, {"id": "11", "sentence": "A live algorithmic choir composition created through the phones connected to the score while waiting in front of the building to enter."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "11", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "11", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "11", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}, {"id": "11", "sentence": "In the eleventh century Guido van Arezo introduced the staff with four lines (this is still in use)."}, {"id": "11", "sentence": "In the middle of the thirteenth century Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note."}, {"id": "11", "sentence": "This so-called manural notation was of great importance to ensure the reproducibility of the various rhythmic possibilities in the developing polyphonic music of Western Europe."}, {"id": "12", "sentence": "One of the influences for our project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "Attali believes that music has gone through four specific cultural stages in its history: 1."}, {"id": "12", "sentence": "Sacrificing 2."}, {"id": "12", "sentence": "Representing 3."}, {"id": "12", "sentence": "Repeating 4."}, {"id": "12", "sentence": "Post-Repeating The 2nd phase is important in the perspective of sound reproduction, graphic score and the tangibility of sound and / or the object."}, {"id": "12", "sentence": "It refers to the era of printed music (1500 - 1900)."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "This represents the music in the absence of the maker and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}, {"id": "12", "sentence": "In that time it would have been quite prophetic."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "12", "sentence": "What kind of scores can be made with aal new techniques and media which have been developed since and definitely are of influence in our conceptual thinking of music and its reproduction."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "13", "sentence": "event: the entire Pushing Scores project was set up in cooperation with Remco van Bladel."}, {"id": "13", "sentence": "The conceptualization, the funding, the execution."}, {"id": "13", "sentence": "We new that Remco had written his essay 'Musical Theories in Graphic Design' on the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "This brought us together and made Pushing Scores to be real."}, {"id": "13", "sentence": "Remco van Bladel (Amersfoort, 1977) is a graphic designer, based in Amsterdam."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ, Arnhem."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "Especially the strategy and concepts he creates for graphic design."}, {"id": "13", "sentence": "In his essay 'Musical Theories in Graphic Design', from 2002, treated Bladel with the subject of graphic notation within a broader field of theory formation in contemporary music."}, {"id": "13", "sentence": "In it he transposed compositional methodologies of the avant-gardists in the 20th century to graphical design methodologies."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "But also work from Stockhausen, and Cage to view and differ and looking for similarities."}, {"id": "13", "sentence": "Rhythm, shifts, pairs, tonality, counterpoints."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "The most important, from his youth, is sound or music."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "13", "sentence": "Searching for dissonance and ordering of information, for rhythm and tonality."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "13", "sentence": "The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "participating artists: WHO ?"}, {"id": "14", "sentence": "Telcosystems presents Resonanz; an electronic book combining a series of visual artworks with a sound publication in one."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "This evening Resonanz will be the starting point of Q&A, demonstration and live presentation."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "14", "sentence": "The software they write enables them to compose ever-evolving audiovisual worlds."}, {"id": "14", "sentence": "Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes."}, {"id": "14", "sentence": "Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "14", "sentence": "Working with sound performance and art installation."}, {"id": "14", "sentence": "She is part of the sound-art-collective Sculptress of Sound."}, {"id": "14", "sentence": "Julia's solo live performance primarily refers to the modified vinyl records which produces extraordinary sounds."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "14", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "We got in touch with the work of Derek Holzer through his project on Tone Wheels; an experiment in converting graphical imagery to sound, inspired by some of the pioneering 20th Century electronic music inventions."}, {"id": "14", "sentence": "Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures."}, {"id": "14", "sentence": "This analog way of getting sound from graphic notation was an impuls to check him out for the Pushing Scores project."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "It fully fitted in our search for how to see the concept of composing and making scores."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "http://macumbista.net Derek Holzer gave a lecture with the theme \"Schematic as Score: use and abuse of the (im)deterministic possibilities of sound technology\"."}, {"id": "14", "sentence": "In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into his process."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "14", "sentence": "These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers."}, {"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}, {"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}, {"id": "14", "sentence": "But this unwanted presence also guarantees the vitality of that fiercely fought area; the live electronic music performance."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "14", "sentence": "This has led to a new interest in analogue processes or dirty hands art."}, {"id": "14", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of electronic art during the pre-digital era of the sixties and seventies."}, {"id": "14", "sentence": "Artists and inventors such as Nam June Paik, Steina and Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or could be freely downloaded."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "With this renewed analog interest comes a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s."}, {"id": "15", "sentence": "Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable4– often through a long, rigorous process of self-education in electronics."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "15", "sentence": "In 2011 Derek Holzer wrote an essay on this issue which has been published as a pdf on internet as VAGUE TERRAIN 19."}, {"id": "16", "sentence": "Vector Synthesis Workshop Piksel Derek Holzer, Vector Synthesis workshop Building: Piksel Studio 207, Bergen NO Dates: 9-11 March 2018 Time: tba All workshops are free entrance."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "LINKS http://macumbista.net/?page_id=4869 https://www.instagram.com/macumbista/ More info at: http://17.piksel.no/?p=72 Photo credit: Anders Børup"}, {"id": "16", "sentence": "Derek Holzer was invited for the event PU-SH-ING at 20 Jan 2017."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Post-war developments continued in this direction."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "16", "sentence": "The laboratory itself performed government research into nuclear physics, energy technology, and national security."}, {"id": "16", "sentence": "In the early 1960’s, the composer Morton Subotnik employed engineer Don Buchla to help him create “the music of the future”."}, {"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}, {"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}, {"id": "16", "sentence": "In 1967, the Sony Portapak revolutionized video by taking the camera out of the television studio and into the hands of amateurs and artists."}, {"id": "16", "sentence": "And by the early 1970’s, an interest in cybernetics, systems theory and automatic processes brought the analog computer closer to the worlds of art, music, and architecture."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "16", "sentence": "Perhaps the most iconic of these games is Asteroids, a space shooter released by Atari in 1979."}, {"id": "16", "sentence": "Battle Zone (1980), Tempest (1981), and Star Wars (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade."}, {"id": "16", "sentence": "As electronics became cheaper, smaller, and faster in the 1980’s, the dated technology of using analog vectors to directly manipulate a Cathode Ray Tube fell out of favor and rasterized graphics, animations and moving image quickly took their place."}, {"id": "16", "sentence": "Informed by the discourse of media archaeology, my own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake."}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}, {"id": "16", "sentence": "The fact that many aspects of our current utopian aspirations (and dystopian anxieties!"}, {"id": "16", "sentence": "remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic."}, {"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}, {"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Event Scores are works Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or negatively (meaning deciding not to perform them at all)."}, {"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "17", "sentence": "After performing in one such piece, Cage quipped that he'd \"never felt so controlled before.\""}, {"id": "17", "sentence": "prompting Brecht to pare the scores down to haiku-like statements, leaving space for radically different interpretations each time the piece was performed."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "He is inspiring for a lot of performance based composers."}, {"id": "17", "sentence": "Specifically that is works out of simple instructions and can be done by anybody it has a highly democratic factor, without losing its artistic impact."}, {"id": "17", "sentence": "Also interesting is the fact that it is purely language based lays in our interest."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and he mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St. Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "19", "sentence": "A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians."}, {"id": "19", "sentence": "https://en.wikipedia.org/wiki/Baton_(conducting"}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}, {"id": "19", "sentence": "Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "19", "sentence": "This method of conducting, called cheironomy, consisted of writing signs in the air that contained clear instructions for the trained choir singers in terms of pitch change, duration and tone strength."}, {"id": "19", "sentence": "These signs or neumens were written down, modified or not, first without any reference line."}, {"id": "19", "sentence": "Later, the neumens - depending on the relative pitch differences - were noted above, on, or below a line referring to a pitch determined by the choral conductor."}, {"id": "20", "sentence": " publication title: Each One catalogue number: DOB 089 artist: Jörg Piringer description: 10\" vinyl dubplate each one with original sound and related artwork edition 40 pieces"}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "The packaging of each record is also linked to the unique file and consists of an original visual work that is derived/transformed via a formula from the programming language that underlies the audio poem to be heard on the record."}, {"id": "20", "sentence": " Jörg Piringer is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet, musician and holds a master's degree in computer science."}, {"id": "20", "sentence": "He is also involved in the online poetry platform Huelkorven."}, {"id": "20", "sentence": "The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "20", "sentence": "The performance ‘frikativ’ is real-time generated visual and sound poetry."}, {"id": "20", "sentence": "Image and sound are created immediately during the performance by speaking and vocalizing into a microphone and modifying the voice through signal processors and samplers while the software is analyzing the sound to create animated abstract visual text-compositions."}, {"id": "20", "sentence": "Piringer is also involved in Huellkurven; an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry, audio poetry etc."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "21", "sentence": "In a multicultural situation, abstract sounds are the forms of recognition; then there is, for example, the music."}, {"id": "21", "sentence": "The cultural identity is communicated with this."}, {"id": "21", "sentence": "Music and dance are good elements to be together without literally understanding each other word for word."}, {"id": "21", "sentence": "Subcultures form through music."}, {"id": "21", "sentence": "In addition to the all-dominating impact of the music industry that determines lifestyle at the confection level, all sorts of de-mass-splintering genres are forming on the periphery of the musical firmament."}, {"id": "21", "sentence": "The style / genre determines the identity."}, {"id": "21", "sentence": "New generations are born."}, {"id": "21", "sentence": "It is important here that the language is sung off the usual value of speech."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "21", "sentence": "Orientation with regard to giving meaning changes by inserting moments when improper use of thought, material and technology takes place."}, {"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "21", "sentence": "Multilingualism is important in giving meaning to the things around us."}, {"id": "21", "sentence": "Publishing, as mentioned above, is important to communicate various ways of expression."}, {"id": "21", "sentence": "Signification also plays a major role in this."}, {"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "This idea is closely intertwined with the project \"Pushing the Score\", in which the materialization of sound plays a role."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "21", "sentence": "We investigate how contemporary means are used to shape language, sign and sound."}, {"id": "21", "sentence": "The analogue and virtual voice play a major role in this."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "21", "sentence": "Inspiration is the vocal poetry, poésie sonore and text-sound composition."}, {"id": "21", "sentence": "In our opinion, this area is an important one, both in the experimental sound, in the lecture and in the visual arts."}, {"id": "21", "sentence": "Here it has played an important role and as such it is still current."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "They sound like a completely crushed partiture which comes out in it's pure elements just ordered in a way you are not so used to listen to."}, {"id": "22", "sentence": "Good practise for the ears."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "The music focuses on elastic rhythms, that are not easily confined to a grid."}, {"id": "22", "sentence": "The musicians read the music from a score, but the score consists of moving images on a computer screen."}, {"id": "22", "sentence": "This is done in order to communicate rhythms not easily notated."}, {"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}, {"id": "22", "sentence": "With flutes or recorder, plucked string instruments, duck calls and winds or brass, various types of rhythmical sound textures are conveyed."}, {"id": "22", "sentence": "Some parts of the music might resemble animal sounds or the rhythm of animal movements."}, {"id": "22", "sentence": "To quote the composer: \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "This means animated notation."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "22", "sentence": "Nevertheless we claim it to be part of it."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "They are a group that plays music in a “extra-musical” or “non-musical” sort of rhythm (so to speak)."}, {"id": "22", "sentence": "They did quite an impressive set 2 years ago at De Vleeshal and Wallgallery, for those who missed it."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "22", "sentence": "Most compositions are made by Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík."}, {"id": "22", "sentence": "In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "22", "sentence": "This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores."}, {"id": "22", "sentence": "During the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "22", "sentence": "This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A."}, {"id": "22", "sentence": "thesis in Mills College."}, {"id": "22", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "22", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "22", "sentence": "He is a founding member of the S.L.Á.T.U.R."}, {"id": "22", "sentence": "\"samtök listrænt ágengra tónsmiða umhverfis Reykjavík\" or \"The Association of Artistically Obtrusive Composers around Reykjavík\"[6]), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "23", "sentence": "‘Anitation’is the term for animated notation."}, {"id": "23", "sentence": "Instead of using traditional musical scores, during the performance, the musicians follow specific instructions that move across a computer screen."}, {"id": "23", "sentence": "This rhythmic language and animated notation and the structural methods were the subject of Guðmundur Steinn M.A."}, {"id": "23", "sentence": "thesis in Mills College."}, {"id": "23", "sentence": "As Guðmundur Steinn explains, \"By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening."}, {"id": "23", "sentence": "When things then open up, a new sense of variety is gained.\""}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "This Icelandic quartet plays with little analog instruments animation scores Steinn made on his computer."}, {"id": "23", "sentence": "It results in real delicate and unconventional chamber music."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "He a lecture on this subject and played together with Daniel S. Bøtcher, Grøn, Nynne Roberta Pedersen several pieces."}, {"id": "23", "sentence": "Amongst which some of Gudmundur Steinn."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "23", "sentence": "Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms."}, {"id": "23", "sentence": "It inhabits a world where grids or straight lines are almost non-existent."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "23", "sentence": "He has been active with a composer collective in Iceland called S.L.Á.T.U.R."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "Guðmundur Steinn studied composition at Mills College, Iceland Academy of the Arts, Reykjavík College of Music, privately and at summer courses in Kürten and Darmstädt."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "24", "sentence": "Silence has kinetic roles in social exchanges: quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation."}, {"id": "24", "sentence": "But how can we score something not present, yet also not absent?"}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "24", "sentence": "In the context of an experimental music notation, seeking to make an instrumental gesture of silence, how can we draw incipience?"}, {"id": "24", "sentence": "“Before god needed to be invented there were man."}, {"id": "24", "sentence": "Before the song there was the yodel.” As bart plantenga stated in his reading on yodeling."}, {"id": "24", "sentence": "I think silence has that same trelations with music."}, {"id": "24", "sentence": "emptiness has that same relation with notation."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "His works can often be regarded as composition, performance, sculpture and indictment."}, {"id": "25", "sentence": "His work is described as conceptual music."}, {"id": "25", "sentence": "He usually uses multimedia elements."}, {"id": "25", "sentence": "He approaches the themes he uses (including authorship) through various entities directly linked to society."}, {"id": "25", "sentence": "By acting consistently within these structures he creates his works."}, {"id": "25", "sentence": "A few examples appeal to the imagination with regard to how a score can be understood and which elements and/or processes can play a role in this."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "His way of composing has a multimedia conceptual approach which is mostly linked with processes in society."}, {"id": "25", "sentence": "This makes it interesting in the perspective of experimentation and onorthodox composing."}, {"id": "25", "sentence": "The AEX index, outsourcing of labor or copyright processes and social questions and implication around these issues form the fundament of some of his compositions."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "25", "sentence": "We produced with him a record which contains one piece of him named Product Placements This piece is to be seen as a plunder phonic composition in extremis."}, {"id": "25", "sentence": "A press echoed in September 2008 his action Product Placements out, with which he wanted to initiate a discussion on copyright and the height of creation in music."}, {"id": "25", "sentence": "In a 33-second piece of music, he processed 70,200 quotes of foreign works, which he all individually enrolled at the GEMA."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "The plant is deliberately located in a legal gray area, which has greatly increased by digital technologies, so that it is impossible to clarify the case so far."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Timbaland Another One Bites The Dust by Queen vs."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Justin Timberlake & Timbaland Baby Baby by Sunblock feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}, {"id": "25", "sentence": "by Justice Dance Tonight by Paul McCartney Dancefloor by The Holloways Dancing Lasha Tumbai by Verka Serduchka Dare Me (Stupidisco) by Junior Jack feat."}, {"id": "25", "sentence": "Shena Dark Road by Annie Lennox Delivery by Babyshambles Desecration Smile by Red Hot Chili Peppers Destination Calabria by Alex Gaudino feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "25", "sentence": "Team Don't by Elvis Presley With The Jordanaires Don't Dance by Midas Don't Give It Up by Siobhan Donaghy"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "He works as a lecturer in music theory, ear training and electronic music at the Rostock Academy of Music and Theater, the Detmold Academy of Music, the Hanover University of Music and Drama and at the Hamburg University of Music and Drama."}, {"id": "25", "sentence": "His work/action Product Placements, which helped to discuss copyright and the level of creation in music, was widely spread."}, {"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}, {"id": "25", "sentence": "A few cubic metres of printed matter were placed in the reception hall of the GEMA office."}, {"id": "25", "sentence": "The minimal samples used (milli-seconds) are intended to test the credibility and effectiveness of the GEMA in relation to the digital reality."}, {"id": "25", "sentence": "The music production is consciously located in a legal grey area, which has been greatly enlarged by digital technologies."}, {"id": "25", "sentence": "If such a fraction can still be labelled as music, it can still be linked to the original and the performing artist in terms of financial compensation for use."}, {"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}, {"id": "25", "sentence": "Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "26", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "26", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "26", "sentence": "Varia will explain their ideas and approach on this matter."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "26", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "26", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "26", "sentence": "Ana Guedes her project UNTITLED RECORDS fits in our idea of finding new ways for composing."}, {"id": "26", "sentence": "Her archival approach and its political and personal implication are the starting point of this work."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "26", "sentence": "This 'other way' around to come to sound is an interesting phenomenon."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}, {"id": "26", "sentence": "She works with sound, video, installation and performance."}, {"id": "26", "sentence": "Her research focuses on the 'dialectic of tuning'."}, {"id": "26", "sentence": "Within this framework she investigates the working of memory with the intention of recreating situations and thus evoking a 'presence'."}, {"id": "26", "sentence": "Through subjective interpretations of the ability to instrumentalize objects, she creates catalysts for thinking and contemplation."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The vinyls were purchased in Angola, Portugal and Canada over a time span from the 60s to the early 80s and have travelled over three continents."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "TGC #3 fits right in."}, {"id": "27", "sentence": "Concretely, TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "Next to the presentation of TGC#3 we are also hosting exciting demonstrations and live sets from the sound makers and breakers described below."}, {"id": "27", "sentence": "artists: WHO ?"}, {"id": "27", "sentence": "* HIELE MARTENS (be) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium’s finest composers and musicians together, it adds up to an infinite number."}, {"id": "27", "sentence": "Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deep into new territory that could be interpreted as a 2017 update of Maurice Kagel’s \"Exotica\", but made by self-aware electronic musicians."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft, and digitalcraft."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "Jakobson has great reverence for intuition and it’s use as a technology."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch."}, {"id": "27", "sentence": "Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres."}, {"id": "27", "sentence": "Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you can sometimes find him hanging on two piano strings from a ceiling."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "The concept of the course revolves around two core principles: first, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "27", "sentence": "https://xpub.pzimediadesign.nl"}, {"id": "27", "sentence": "We got in touch with Helga Jakobson her work through Bas van den Hurk who in that time was teaching at St Joost post graduate program in which Helga took part."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "We had an appointment and it was clear that this definitely got our interest and the decided to present her prototype at an event in which other more inventive ways of sound making were presented."}, {"id": "27", "sentence": "Also the idea of a spider web as a score of course matched with the Pushing Scores project."}, {"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}, {"id": "27", "sentence": "about her work considering Arachnes Sonifier: Knowledge sharing across traditions has often taken place through oral mythology."}, {"id": "27", "sentence": "Creation myths, such as in the Hopi and Navajo traditions, often centre around a Grandmother Spider figure who wove the night sky with her silk."}, {"id": "27", "sentence": "There are spider figures in West African, Akan, and Caribbean myths personifying the spider as a trickster."}, {"id": "27", "sentence": "In Japan there’s a focus on the lure of the spider, where it is sometimes likened to a prostitute."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "27", "sentence": "Arachne challenged Athena, believing in the superiority of her own abilities and with the support of her community."}, {"id": "27", "sentence": "During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women."}, {"id": "27", "sentence": "After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates."}, {"id": "27", "sentence": "Arachne, a disturber of the status quo, is thought of as one of the first feminist authors."}, {"id": "27", "sentence": "Using the material bequeathed to Arachne’s doomed progeny, I’ve been weaving a visual and sonic tapestry of my own, using digital technology to form new means of mythologizing and disseminating non-verbal experience."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The intact web will not exist long in the world, and with my interference; even less so."}, {"id": "27", "sentence": "This strange, affective relay continues into the recording process which results in the interpreted sound of an interpreted web."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}, {"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}, {"id": "27", "sentence": "The process of finding them could be likened to trying to make the invisible visible."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "27", "sentence": "They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time."}, {"id": "28", "sentence": "type of project: publication title: ORE catalogue number: DOB 092 artist: BJ Nilsen description: This work by BJ Nilsen can be seen as an observing documentary and is related to time lapse filmmaking."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "As a sound artist he realized how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "Where does mining stop?"}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "28", "sentence": "Over the years he has built up an extensive sound archive around this subject."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "In it he found the fragility of mining processes and the impact that mining activities have on the population and their biotope and he also expanded his archive with all related logistic processes."}, {"id": "28", "sentence": "In the final processing of the sound, he uses the facets of mining as different sound tracks."}, {"id": "28", "sentence": "The composition follows a more or less linear path - starting with 'deep' time."}, {"id": "28", "sentence": "This line is interrupted a few times and the different time periods work together and overlap."}, {"id": "28", "sentence": "It is a mix of sound recordings made at different times."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "There is a small tribute to GRM (Groupe de recherches Musicales) in Paris and Pierre Henry which is directly related to iron ore."}, {"id": "28", "sentence": "The 'musique concrète' as developed by Henry at GRM was made by magnetic tape."}, {"id": "28", "sentence": "Some of the recordings were finally mixed in the studios of GRM."}, {"id": "28", "sentence": "Magnetic tape was the medium of BJ Nilsen's youth."}, {"id": "28", "sentence": "He had hundreds of cassette tapes, like many at the time."}, {"id": "28", "sentence": "It made him realize how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore."}, {"id": "28", "sentence": "Benny Nilsen approached us for his project ORE. We thought he would fit very well in the E-ARTHHA event with Douglas Kahn which we had planned."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "28", "sentence": "His writings have also been influential in the scholarly area of sound studies and the practical area of sound art."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "Currently Kahn is researching new interfaces and possibilities of sound composition, image and performance."}, {"id": "28", "sentence": "He discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "28", "sentence": "That evening Kahn did some kind of improv session on the works of the three invited artists."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "28", "sentence": "BJ Nilsen ‘In Ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "When it was empty, I mapped out the building by recording it."}, {"id": "28", "sentence": "You hear the room tones, pigeons flying around, doors flapping, and the sound of the town blending in."}, {"id": "28", "sentence": "I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "It doesn’t relate directly to mining, but it extends the project to include geology, deep time and stone."}, {"id": "28", "sentence": "Those recordings symbolise the stasis of time."}, {"id": "28", "sentence": "The mountain just sits there."}, {"id": "28", "sentence": "The sounds are environmental."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "The Sámi have a lot of respect for nature."}, {"id": "28", "sentence": "Throughout the landscape there are sacred stones that are very important to them."}, {"id": "28", "sentence": "I also worked with stone as an instrument, striking and recording it."}, {"id": "28", "sentence": "I did the same with coal."}, {"id": "28", "sentence": "I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes."}, {"id": "28", "sentence": "She still stores coal there in a small outhouse (called ‘kullbingen’)."}, {"id": "28", "sentence": "There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia."}, {"id": "28", "sentence": "The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It’s not iron ore but lignite, ‘braunkohle’."}, {"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}, {"id": "28", "sentence": "The recordings I did in the former mining region of the Netherlands are again more environmental: the mine near Heerlen has been developed into a park and nature area."}, {"id": "28", "sentence": "I’m very interested in the hidden layers and history the landscape."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}, {"id": "28", "sentence": "The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko."}, {"id": "28", "sentence": "And then there are sounds used for seismic interferometry: the decoding of ambient seismic noise, micro earthquakes and also surface bound sounds."}, {"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "One is the waste you make to get to the ore."}, {"id": "28", "sentence": "If you have a gold mine and the gold layer sits 50 metres below surface, you have to remove 50 metres of waste."}, {"id": "28", "sentence": "The ore layer contains only a certain amount of the mineral that will bring you revenue."}, {"id": "28", "sentence": "The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process."}, {"id": "28", "sentence": "It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly."}, {"id": "28", "sentence": "Sometimes this can go horrible wrong."}, {"id": "28", "sentence": "It is important for companies to manage this."}, {"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}, {"id": "28", "sentence": "‘The composition follows a more or less linear path – starting with deep time."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "It’s absurd when you start to think about it."}, {"id": "28", "sentence": "So much time is compressed in this material and it’s burned up in minutes."}, {"id": "28", "sentence": "It’s not like wind or the sun, which give you immediate energy."}, {"id": "28", "sentence": "It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a base of hard rock under the water with different layers of material."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "We did a study and tried to identify how thick the layer was in different areas."}, {"id": "28", "sentence": "We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken."}, {"id": "28", "sentence": "When they were cleaning the old silos they flushed everything out into the slambanken."}, {"id": "28", "sentence": "This was part of a test production of around 30.000 tons."}, {"id": "28", "sentence": "We can see layers of hematite."}, {"id": "28", "sentence": "It is not enough to make a mine plan, but enough to get a small cash flow."}, {"id": "28", "sentence": "We have a tunnel that leads there.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "In a sense, you cannot not bring out those relations: how a society depends on mining and how it affects it.’ ‘The sound of the mine was always present."}, {"id": "28", "sentence": "It created a vacuum after it closed."}, {"id": "28", "sentence": "When the mill was in full operation the only time when we woke up in the night was when the train was not going."}, {"id": "28", "sentence": "We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.’ Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, March 2018."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The landscape is fairly untouched, it is scarsely populated, it’s desolate."}, {"id": "28", "sentence": "The sounds of nature are not often interrupted by other sounds."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "28", "sentence": "It’s good for the human psyche to be reminded of that."}, {"id": "28", "sentence": "You can only survive there if you work with nature."}, {"id": "28", "sentence": "If you work against it, it will kill you."}, {"id": "28", "sentence": "The people in the Arctic have a lot of respect for nature, it forms them.’ ‘The Arctic is changing quickly."}, {"id": "28", "sentence": "If it goes on like it goes now, the ice will open up and it will not be so desolate anymore."}, {"id": "28", "sentence": "That is quite scary."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "28", "sentence": "What shifts will we see?"}, {"id": "28", "sentence": "What shifts happened in the past?"}, {"id": "28", "sentence": "Why did people in the past settle in an environment like this?"}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}, {"id": "28", "sentence": "These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}, {"id": "28", "sentence": "Geologists read the stone, but they also listen to it."}, {"id": "28", "sentence": "By physically interacting with the stone you can determine what material it is."}, {"id": "28", "sentence": "Different types of stone give different frequency readings."}, {"id": "28", "sentence": "Geologists use seismic soundings to map out the resources in the earth."}, {"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}, {"id": "28", "sentence": "It gives them an image, a bit similar to sonar."}, {"id": "28", "sentence": "It’s mostly really low sounds that you have to transpose up three times to get within human hearing range."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}, {"id": "28", "sentence": "Through soundwaves geologists are able to map what is underground.’ ‘There is a little homage to GRM and Pierre Schaeffer on the record."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "28", "sentence": "I mixed part of the recording in the GRM studios in Paris where I was working on another acousmatic piece."}, {"id": "28", "sentence": "Magnetic tape was the medium of my youth."}, {"id": "28", "sentence": "It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.’ ‘The iron ore is refined and filtered, making sure the pure magnetite comes out."}, {"id": "28", "sentence": "Only a small percentage of the ore is iron, the rest is slag and waste."}, {"id": "28", "sentence": "It is a process that somehow relates to my own artistic process."}, {"id": "28", "sentence": "I’m always processing and refining my field recordings."}, {"id": "28", "sentence": "I apply filters, use electronics."}, {"id": "28", "sentence": "It’s a kind of sound alchemy."}, {"id": "28", "sentence": "All to get to the desired result: the gold!’"}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "29", "sentence": "John Duncan took part in our event at 5 October 2018."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "29", "sentence": "When we met we had discussions on several professional subjects and decided to realize a publication."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "Duncan’s also works sometimes together with Carl Michael Hausswolff who is an expert in EVP."}, {"id": "29", "sentence": "John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "29", "sentence": "He is currently a sound designer at the art academy of Bologna, Italy."}, {"id": "29", "sentence": "Since the beginning of his work, he has made extensive use of recorded sound."}, {"id": "29", "sentence": "His music consists mainly of recordings of shortwave radio, field recordings and voice."}, {"id": "29", "sentence": "In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara."}, {"id": "29", "sentence": "He also made periodic broadcasts from his own home."}, {"id": "29", "sentence": "The medium of radio still plays a role in arriving at compositions."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "A project on the nowadays meaning of the 'graphic score', which has been running for over the last 2-3 years."}, {"id": "31", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur, earning its own income, we explore the conditions of mechanised labour within the cultural industry and its corresponding ethics"}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "31", "sentence": "It is based in Rotterdam in the area were we operate."}, {"id": "31", "sentence": "We knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of Pushing Scores."}, {"id": "31", "sentence": "Instead of making a paintwork publication we wanted it to be more adventurous and in line with the concept of the project."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "31", "sentence": "The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}, {"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}, {"id": "31", "sentence": "It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language."}, {"id": "31", "sentence": "The actual printing of the thermal paper is a stochastic performance in itself."}, {"id": "31", "sentence": "By emphasizing this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanized labor within the cultural industry and the associated ethics are investigated within this project."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "31", "sentence": "On the spot, the audience could activate the UNI."}, {"id": "33", "sentence": "Black MIDI is a music genre consisting of compositions that use MIDI files to create a song remix containing a large number of notes, typically in the thousands or millions, and sometimes billions."}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "33", "sentence": "This not only counts for publishing but also for exploring new possibilities for the art practise in general."}, {"id": "33", "sentence": "Transformation of information is a fact that occurs during the process of composing and performing the compositions."}, {"id": "33", "sentence": "In that sense there is never a perfect reproduction but always an interpretation."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}, {"id": "33", "sentence": "position."}, {"id": "33", "sentence": "Black MIDI is a beautiful example of how new technology / consumer electronics and its abuse leads to great new implications and applications."}, {"id": "33", "sentence": "This one is pretty contemporary one and results in great imagery and sound."}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}, {"id": "33", "sentence": "\", an extra boss theme from the Touhou Project shooter video game The Embodiment of Scarlet Devil."}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}, {"id": "33", "sentence": "In its beginning years, Black MIDIs were represented visually with traditional, two-stave piano sheet music,contained a number of notes only in the thousands."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "They also formed the sites Guide to Black MIDI and Official Black MIDI Wikia that introduced and set the norm of Black MIDI."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}, {"id": "33", "sentence": "The end of the title of many Black MIDI videos displays how many notes are in the piece."}, {"id": "33", "sentence": "The number of notes and file sizes that could be played back have grown with the rising amount of processing and 64-bit programs computers are able to handle, and while Black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as \"Wrecking Ball\" by Miley Cyrus."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "33", "sentence": "The two largest black MIDIs are \"Armageddon v3\" and \"TheTrueEnd,\" both of which contain the maximum number of notes allowed in the MIDI standard (about 93 trillion)."}, {"id": "33", "sentence": "Due to the nature of their creation and their sheer size, they are unable to be played back and recorded."}, {"id": "33", "sentence": "English-language blackers have formed collaboration groups, such as the Black MIDI Team, where they make MIDI files and visuals together so they can be uploaded online sooner."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "33", "sentence": "Some of them, like Jason, record the MIDI files at a slow tempo and then speed the footage in video-editing to avoid RAM and processing issues."}, {"id": "33", "sentence": "Analysis and reception[edit] The term \"black MIDI\" is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) on traditional sheet music."}, {"id": "33", "sentence": "According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of \"bullet hell\" shoot 'em up games, which involved \"so many bullets at a time your eyes can't keep up."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}, {"id": "33", "sentence": "Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organization Rhizome, in September 2013, leading to attention from publications and bloggers including Aux, Gawker's Adrian Chen, Jason Kottke,[8] and The Verge."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "33", "sentence": "Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and \"splatter-chords\" that are developed with a restricted number of voices come together to make other tones that leads a piano sounding more like a chiptune and less like an actual piano."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}, {"id": "34", "sentence": "The authority who controls copy right specifically for musicians."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "Julian unfortunately died at young age."}, {"id": "34", "sentence": "Marco was primarily active as a visual artist."}, {"id": "34", "sentence": "One of his projects is called Black Mass Implosion."}, {"id": "34", "sentence": "In this project he appropriates scores of avant tgarde composers and connects each not with one arbitrary point on the horizon."}, {"id": "34", "sentence": "This creates strong graphic works and partly blackens out the original score."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}, {"id": "34", "sentence": "He suggested to do an 8 hour performance in an official office building."}, {"id": "34", "sentence": "When normally people are doing there office work now Marco played for 8 hrs in an empty office building."}, {"id": "34", "sentence": "People were guided to the 8th floor into the directors room which was darkened with newspapers stacked on the windows."}, {"id": "34", "sentence": "A huge PA was in the office blazing loud but very articulated."}, {"id": "34", "sentence": "Good food and drinks were served."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "hypnotizing": [{"id": "07", "sentence": "It’s strangely hypnotizing."}], "XPUB": [{"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "09", "sentence": "http://bergmark.org XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "27", "sentence": "The first edition of TGC #3 is limited to just twelve copies, and its presentation at this event is augmented with works created and compiled by the XPUB students."}, {"id": "27", "sentence": "http://bergmark.org * XPUB (int'l) Experimental Publishing is a new course of the Piet Zwart Institute's Media Design Master programme."}], "Kreidler": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "25", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA)."}, {"id": "25", "sentence": "publication: Project name: DOB 060 Description : Product Placements - 10\" blue vinyl with poster and xerox copies - edition of 150 pieces Author: Johannes Kreidler URL: http://www.kreidler-net.de http://www.kreidler-net.de/productplacements-e.html Johannes Kreidler is a special duck in the bite when it comes to composing."}, {"id": "25", "sentence": "Johannes Kreidler is a composer, concept- and media artist."}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "In this piece, too, reference is made to the borderline areas of copyright, and credits such as composers and copyright holders mention the respective companies instead of Kreidler himself."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "34", "sentence": "Johannes Kreidler (DE) who made a piece consisting of 70 thousand samples, and for each of these fragments he asked permission from the GEMA (the German BUMA-STEMRA)."}], "-Oh": [{"id": "06", "sentence": "-Oh, I think it’s definitely something that’s still evolving."}], "contaminated": [{"id": "28", "sentence": "I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation."}], "nouveauté": [{"id": "01", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "Conlon": [{"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}, {"id": "33", "sentence": "The Guide to Black MIDI, however, denies this influence: “We believe that references to Conlon Nancarrow and piano rolls are too deep and Black MIDI origins must be found in digital MIDI music world [sic].\""}], "presenting": [{"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "12", "sentence": "Representing 3."}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "23", "sentence": "This often requires presenting the music as moving graphics on computer screens."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}], "threads": [{"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "26", "sentence": "Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}], "No": [{"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "06", "sentence": "Now Peter is really nice guy, and clever at that, and I guess he understood my doubts."}, {"id": "06", "sentence": "-Not really, at least not in this case."}, {"id": "06", "sentence": "Now, I never would have though it up if it weren’t for Vaasts initial invitation, or for Peter’s asking me to do a record, or Dennis wanting to present it in Antwerp, that whole chain reaction, so in that way it’s definitely the result of collaborating with all those people."}, {"id": "06", "sentence": "-Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?"}, {"id": "07", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "11", "sentence": "On Notation: Before music was established in writing, each choir leader led the Gregorian chants of the scola cantorum with movements."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": " After getting it touch with Attali’s book ‘Noise: The Political Economy of Music’ we used it as inspiration for the project Pushing Scores."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "He wrote the book ‘Noise: The Political Economy of Music’ which is one of the inspirations for our project Pushing Scores."}, {"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "14", "sentence": "He has performed live, taught workshops and created scores of unique instruments and installations since 2002 across Europe, North and South America, and New Zealand."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}, {"id": "28", "sentence": "The north of Norway is one of the oldest rock formations in the world."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "28", "sentence": "Were they forced up North by circumstances?"}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "K2O": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Was": [{"id": "06", "sentence": "Was one of your fears that, by making it into a 12\", you would have to bring this project to a final version?"}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "unreadable/unplayable": [{"id": "27", "sentence": "These structures are scores and instruments unreadable/unplayable by humans, but interpretable through speculative fabulation, in the case of the recordings I create."}], "blast": [{"id": "28", "sentence": "They put geophones in an array, and record the blast of a detonation underground."}], "Colbie": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hardly": [{"id": "04", "sentence": "As a composer, funnily enough, Charlemagne hardly uses any scores."}], "rich": [{"id": "07", "sentence": "In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity."}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "28", "sentence": "The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim that."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}], "Het": [{"id": "27", "sentence": "Het Arachnes Sonifier got more and more developed and soon we will publish an album (DOB094) with the sound, images and conceptual information on our label."}], "endless": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "06", "sentence": "But to be honest I've never even considered that - 8 hours of material and endless editing possibilities, that’s a nightmare.. the decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier."}], "critical": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "He sees it as punk, experiment, noise, investigative, critical."}, {"id": "24", "sentence": "Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?"}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}], "oscilloscopes": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}], "commodities": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}], "teetered": [{"id": "27", "sentence": "To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them."}], "Erik": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "particularly": [{"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}], "23": [{"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "intermediary": [{"id": "19", "sentence": "It is the first intermediary after the score itself and comes from a method of conducting called cheironmy."}], "exclusive": [{"id": "06", "sentence": "I can still see unexplored possibilities there - as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive."}], "regarding": [{"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}], "Saelmakers": [{"id": "04", "sentence": "We were discussing several projects and possibilities of cooperation with Defne Ayas and Samuel Saelmakers of Witte de With CCA when they asked us to cooperate in the exhibition “GesammttkkunnsttMeshuggahhLaandtttt” by organizing a live event."}], "precisely": [{"id": "12", "sentence": "The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}], "combine": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "22", "sentence": "Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse."}, {"id": "28", "sentence": "Sometimes recordings from four years ago are combined with more recent recordings."}, {"id": "31", "sentence": "We know Varia as a community based initiative which combines several knowledge in the interdisciplinary filed of music, programming, publishing, hacking, social interventions, critical positions, etc."}, {"id": "33", "sentence": "It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes."}, {"id": "34", "sentence": "His overall aesthetic project combines allegorical appropriation with an interest in the intensity of a gesture or event."}], "MIT": [{"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "Cola": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Knierzinger": [{"id": "26", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "It is developed by Niek Hilkmann and Joseph Knierzinger, based on a new notation system that is created to help conceptual composers in developing and exchanging conceptual music within one uniform language."}, {"id": "31", "sentence": "The UNI was developed by Niek Hilkmann and Joseph Knierzinger."}], "uk": [{"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "It resulted in the Tetra Gamma Circular #3 subtitled \"an unknown audio magazine\" and is in itself a certain kind of publication platform that functions almost as a jukebox for floppies."}, {"id": "09", "sentence": "Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'."}, {"id": "10", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "10", "sentence": "Valentina Vuksic was involved in the ARTKILLART Xyears JUBILEE event at 21-04-2017."}, {"id": "10", "sentence": "Artists who joined the event: Valentina Vuksic, Arnaud Rivière, Nicolas Montgermont, Jan Kees Van Kampen"}, {"id": "10", "sentence": "Valentina Vuksic is a computer artist and programmer based in Zürich."}, {"id": "10", "sentence": "Vuksic considers time and space of computer processor and memory as levels of reality."}, {"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}, {"id": "26", "sentence": "participating artists: - Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "27", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "31", "sentence": "- Valentina Vuksic will bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographically setups."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}, {"id": "33", "sentence": "Black MIDI was first employed in Shirasagi Yukki at Kuro Yuki Gohan's rendition of \"U.N. Owen Was Her?"}], "George": [{"id": "17", "sentence": "George Brecht is most famous for his Event Scores such as Drip Music 1962 and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "The Event Scores of George Brecht are still actual pieces."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "27", "sentence": "They remind me of George Crumb’s circular compositions; minus the pen and paper."}], "Teddy": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "vast": [{"id": "28", "sentence": "It is vast scar in the landscape, and really an incredible place."}], "Billiam": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "treatment": [{"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "dating": [{"id": "01", "sentence": "Graphic scores and notation have a long history, dating back to the tenth century, when the Gregorian chants of the scola cantorum were already being conducted through the writing of signs in the air."}], "Eric": [{"id": "25", "sentence": "Eric Lumiere Any Dream Will Do by Lee Mead Anything by JoJo Anything Can Happen In The Next Half Hour by Enter Shikari Apologize by Timbaland Pres."}], "Timidity++": [{"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "code": [{"id": "06", "sentence": "If we just used test tones, so to speak, you end up with something close to morse code."}, {"id": "07", "sentence": "The code of the usual record as defined by the music industry was broken in all works."}, {"id": "12", "sentence": "This notation of music can be considered as a highly coded written guideline for how music should sound."}], "Both": [{"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}], "Meat": [{"id": "25", "sentence": "Andrea Britton Cowboy by Ch!pz Crank That (Soulja Boy) by Soulja Boy Tell'em Crash by Matt Willis Crazy by Lumidee Crazy by Gnarls Barkley Crush Crush Crush by Paramore Cry Over Me by Meat Loaf Cupid's Chokehold by Gym Class Heroes feat."}, {"id": "28", "sentence": "His best known book 'Noise, Water, Meat: A History of Sound in the Arts' was published by MIT Press in 1999."}], "converted": [{"id": "11", "sentence": "The Small Museum, the former announcement box on the front of Paradiso, is being converted by Remco van Bladel into a local wifi point that will stream a polyphonic \"Pa-Ra-Di-So\"."}], "KREIDLER": [{"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "become": [{"id": "04", "sentence": "The ink was absorbed by the books and after drying it had become pieces which turned out to be a serie of morphing colors by each page turn."}, {"id": "06", "sentence": "Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?"}, {"id": "07", "sentence": "The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself."}, {"id": "07", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "09", "sentence": "Via beamer and audio system everything becomes visible and audible."}, {"id": "12", "sentence": "During this period, the music is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market."}, {"id": "14", "sentence": "This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "23", "sentence": "That way the most irregular things can become very intelligible."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}, {"id": "28", "sentence": "Will it mean that other places will become desolate instead, uninhabitable?"}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "numerous": [{"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "Eventually he was accompanied by numerous journalists with a small truck full of completed applications to the GEMA Directorate General in Berlin."}], "apply": [{"id": "28", "sentence": "I apply filters, use electronics."}], "thereafter": [{"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}], "Borders": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "dialectical": [{"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "listened": [{"id": "06", "sentence": "Were there people who actually listened to the whole 8 hour performance?"}, {"id": "07", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}, {"id": "14", "sentence": "Incorporated in the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones."}], "079": [{"id": "05", "sentence": "Type of object: Publication catalogue number: DOB 079 date: 09/09/2016 Project title:\"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}], "accessibility": [{"id": "04", "sentence": "These works deal with continuïty and an endless accessibility."}], "//telcosystems.net/product/resonanz/": [{"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}], "Your": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}], "oscilloscope": [{"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "About the live oscilloscope concert he states: „The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "16", "sentence": "He did a reading on Schematic as a Score, but also did a live concert from his research in analog visuals with the oscilloscope."}, {"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "multidisciplinary": [{"id": "26", "sentence": "-Ana Guedes is a multidisciplinary artist from Portugal who lives and works in The Hague."}], "My": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "by Band Aid Do Without My Love by Nathan [UK] Do You Know?"}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}], "anticlimax": [{"id": "14", "sentence": "The presence of failure in a musical system represents feedback in the negative, a turning point in anticlimax, irrelevance, the everyday, the cliché or even unintentional silence."}], "Burn": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "hockets": [{"id": "22", "sentence": "The music mostly consists of hockets where each sound is like one letter in a word."}], "Many": [{"id": "14", "sentence": "Many artists try to eliminate true, catastrophic failures by scripting, scoring, sequencing or programming their work in as many predictable, risk-free quantums as possible in advance."}], "DEPLAYER/DOB": [{"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}], "loss": [{"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "33", "sentence": "The first of these tracks to reach the million-note mark was that of “Necrofantasia” from Touhou Project video game Perfect Cherry Blossom, arranged by TheTrustedComputer."}], "Therefore": [{"id": "16", "sentence": "Therefore, an investigation into “tried-and-failed” methods from the past casts our current attempts and struggles in a new kind of light."}], "illustration": [{"id": "27", "sentence": "A spiderweb is not only an illustration of a spider’s mental landscape, but an instrument it plucks and plays."}], "AN": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "http://www.bmbcon.demon.nl/justin/ REMCO VAN BLADEL (nl) Amsterdam based graphic designer, and co-founder of noise band/art collective Sonido Gris."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}], "institutions": [{"id": "13", "sentence": "His clients include artists like: Navid Nuur, Jonas Staal, Justin Bennett, Esther Tielemans, Gert-Jan Prins and Erik van Lieshout besides institutions like Witte de With, e-flux, New World Summit, Extra City Kunsthal, Arts Writers Grant Program, Art Agenda, Council, Cobra Museum and STEIM (studio for electro-instrumental music)."}], "voltage": [{"id": "16", "sentence": "Buchla redesigned the existing function generators of analog computers to respond to voltage controls of their frequency and amplitude."}], "transmission": [{"id": "21", "sentence": "The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle."}], "sound/music": [{"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}], "Aurélie": [{"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "solfege": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}], "Recording": [{"id": "06", "sentence": "Recording the Casio felt too definitive at the time."}], "Keersemaker": [{"id": "28", "sentence": "More waste means more costs.’ Interview with Marco Keersemaker, CITG, Technical University Delft, by Benny Nilsen, 2018."}], "PLAYER": [{"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "01", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Pushing Scores is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "DE PLAYER was asked by XPUB of Piet Zwart Institute to do a seminar during a 3 month period with their students."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "They approach DE PLAYER for some input in the production and distribution of it."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "10", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "13", "sentence": "It seemed to be a good match to work with him and DE PLAYER on a research of the graphic score."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "17", "sentence": "DE PLAYER has been publishing and presenting a lot of sound poetry."}, {"id": "20", "sentence": " Piringer has performed in DE PLAYER with his visual sound poetry pieces based on computer programming."}, {"id": "21", "sentence": "DE PLAYER is interested in sound that fraternises in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "25", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "26", "sentence": "To communicate the project to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication for the Pushing Scores project."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "27", "sentence": "Tetra Gamma Circulaire was initiated in 2015 by DE PLAYER with the aim to become an experimental audio magazine series without any restrictions in appearance, style, and/or shape."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "29", "sentence": "His background in performance and his multimedia and confrontational approach gives him full credits to be part of DE PLAYER its program."}, {"id": "31", "sentence": "To communicate the Pushing Scores to a larger audience DE PLAYER asked Varia to develop a context and technical environment as a web-based archival publication."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "DE PLAYER and WORM present a day about music and economy, revolving around two authoritative sound-artists/composers, whose work is engaged with political-economical processes."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}], "provide": [{"id": "10", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "16", "sentence": "Vector graphics were widely adopted by video game manufacturers in the late 1970’s due to their computational efficiency, and the wealth of experience using them that the history of analog computing provided."}, {"id": "17", "sentence": "George Brecht agreed to provide instructions for an event at St. Vincent."}, {"id": "26", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}, {"id": "31", "sentence": "The ‘runtime’ of executed software is staged for an audience to provide an acoustic experience: that of logic encountering the physical world."}], "alchemic": [{"id": "28", "sentence": "What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range.’ ‘This mining work is tied directly to the computer age, itself an alchemic expression of man’s ingenious use of the earth."}], "F": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "01", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "01", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "02", "sentence": "“feed Flintstone meets 21st century”."}, {"id": "04", "sentence": "type of object: event title: TUNING – DETUNING / NOTING – DENOTING date: 17 March 2017 location: Witte de With CCA, Rotterdam artists: Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Description: Can a tune be translated into an image?"}, {"id": "04", "sentence": "The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "04", "sentence": "http://ygourdon.net/ RAFAËL ROZENDAAL (nl) A visual artist who uses the internet as his canvas."}, {"id": "04", "sentence": "http://www.slowempty.com/ http://www.newrafael.com FLORIS VANHOOF (be) Filmmaker & musician from Belgium."}, {"id": "04", "sentence": "Connecting his many worlds, ideas and influences into highly personal live performances and recordings, Floris Vanhoof keeps on amazing people here and abroad."}, {"id": "04", "sentence": "For this event he will work with filmscreening and synthesizer which he influences with his brainwaves."}, {"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "05", "sentence": "From a spontaneous and rather naive approach to art and performance, Colson wants to shape his ideas."}, {"id": "06", "sentence": "Type of object: release title: PRINCIPIUM 2.0 catalog number: DOB073 Description: This release has a shifting one-note drone (i believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor."}, {"id": "06", "sentence": "Funny things is that after the presentation in Stadslimiet the recordings of this 8 hours performance were edited back to a 12” vinyl record which has been released on Ultra Eczema label shortly after."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "First is that the Casio version really works best through audience interaction - people moving magnets around, changing the sounds on the keyboard and so on."}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Funny thing was that we’d agreed to let it run until 23h, and at about two minutes to eleven I got the first ever instruction to leave all the turntables empty."}, {"id": "06", "sentence": "You release this album as a Remörk album, but there were more people involved in this project than just you: there's Vaast Colson, Peter Flenger and Dennis Tyfus too."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "07", "sentence": "From this standpoint the configurations are only worthwhile when they produce new, previously unknown, relationships."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "07", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "07", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "08", "sentence": "Type of object: event title:Pushing Scores date: 20 January 2019 location:ART Rotterdam, Rotterdam, NL artists: Moniker, Rafaël Rozendaal, Luuk Bouwman, Telcosystems, Remco van Bladel Description: For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "08", "sentence": "For a certain period we yearly took part in the ART Rotterdam."}, {"id": "08", "sentence": "For this year it was clear that we present the Pushing Score project."}, {"id": "09", "sentence": "event title: MAT>NET>PU - PZI_XPUB TGC3 presentation date: 24 March 2017 location: DE PLAYER artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUBPiet Zwart Institute XPUB, (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg) Description: An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "09", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "09", "sentence": "Max Franklin's research focuses on the fragile nature of improvisation in music, with software."}, {"id": "09", "sentence": "For TGC#3 he developed a tool that is a learning counterpartner for his own musical input."}, {"id": "11", "sentence": "event title: Para-phonic Poly-diso dat: Fri 12 Jan 2018 20:30hrs location:The Small Museum, Paradiso, Amsterdam artist: Remco van Bladel Description: WHAT ?"}, {"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "An algorithmic choir is compiled live by the mobile phones that connect to the Wi-Fi point while they are waiting in line for Paradiso to enter."}, {"id": "11", "sentence": "For him it fitted very well to use this public place for a project he had in mind for Pushing Scores."}, {"id": "11", "sentence": "For this multi vocal composition Remco van Bladel collaborated with Lætitia Sadier (Stereolab, Lætitia Sadier Source Ensemble)."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "12", "sentence": "Jacques Attali (born 1 November 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counselor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development in 1991-1993."}, {"id": "13", "sentence": "He designed the publication and identity of the Aalto Natives, at the Finnish Pavilion of this year's 57th Venice Biennale."}, {"id": "13", "sentence": "For the 2015 edition of the Venice Biennale the studio was responsible for the design of the publication and identity of ‘to be all ways to be’, the exhibition of herman de vries of the Dutch pavilion."}, {"id": "13", "sentence": "For instance by understanding the phase shifting technique from inside Steve Reich to design."}, {"id": "13", "sentence": "From his own position he considers himself as (editorial) designer, curator, musician and publisher with a strong predilection for language and typography."}, {"id": "14", "sentence": "event title: PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER date:Fri 20 Jan 2017 20:00hrs location: DE PLAYER, Rotterdam, NL description: WHY ?"}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "For the PUSHING event Derek will do a reading entitled Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology and after that he will do a live set based on researching analog visuals with the oscilloscope."}, {"id": "14", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "16", "sentence": "a theoretical/historical text about the concept written by Derek Holzer 23 NOV 2016, Helsinki, Finland \tTHE VECTORIAN ERA: an Investigation into Analog Computer Graphics The Vectorian Era opens with a screaming across the sky."}, {"id": "16", "sentence": "Analog electronic computers predate their digital counterparts by several decades, and one of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War."}, {"id": "16", "sentence": "As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these."}, {"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", he published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "20", "sentence": "For Pushing the Score we invited him to make special work for a limited edition."}, {"id": "20", "sentence": "For this he developed specific software that generates poetry in spoken word form."}, {"id": "20", "sentence": "For each record a unique piece is generated that is spoken and performed by the same software."}, {"id": "20", "sentence": "For example his work ‘frakativ’; an electronic visual sound poetry performance."}, {"id": "20", "sentence": "‘Fricatives’ are consonants produced by forcing air through a narrow channel made by placing two articulators close together."}, {"id": "22", "sentence": " event title: IRREGULAR # 2313 STRIPPED date:Fri 14 Oct 2011 21:00hrs location: Wall Gallery, Rotterdam, NL artist: Fersteinn Fersteinn from Iceland will come and bring us a clear bold construction of tones and notes in space."}, {"id": "22", "sentence": "Fersteinn is a quartet of multi-instrumentalists that performs music by composer Guðmundur Steinn Gunnarsson."}, {"id": "22", "sentence": "Fersteinn works with the method of so called Animation."}, {"id": "22", "sentence": "FERSTEINN (is) Fersteinn is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble."}, {"id": "22", "sentence": "Fersteinn usually performs in the quietest of settings."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}, {"id": "23", "sentence": "This technique of composing is performed by Gudmundur Steinn his quartet Fersteinn."}, {"id": "23", "sentence": "Gudmundur Steinn has been part of DE PLAYER its program with his quartet Fersteinn several times."}, {"id": "23", "sentence": "https://vimeo.com/151283154 We also produced a limited poly urethan record with Fersteinn."}, {"id": "23", "sentence": "and taken part in founding its festival Sláturtíð and used to be a co-curator of the Jaðarber concert series and Fengjastrútur Ensemble."}, {"id": "23", "sentence": "He runs his own multi-instrumentalist quartet which is called Fersteinn."}, {"id": "23", "sentence": "His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir."}, {"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}, {"id": "23", "sentence": "His teachers have been Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Hilmar Þórðarsson and Úlfar Ingi Haraldsson."}, {"id": "25", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location:SKAR office, Groot Handelsgebouw, Rotterdam | artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "25", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "25", "sentence": "For this purpose, he accompanied by numerous press representatives with a small truck full of completed applications at the GEMA Directorate General in Berlin before."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "25", "sentence": "The Miami Project Anthem by Filo & Peri feat."}, {"id": "25", "sentence": "One Republic Are You Trying To Be Lonely by Andy Lewis & Paul Weller Arnold Layne by David Gilmour Australia by The Shins Autumnsong by Manic Street Preachers Away From Here by The Enemy Axle Grinder by Pendulum Ayo Technology by 50 Cent feat."}, {"id": "25", "sentence": "Sandy Baby Fratelli by The Fratellis Baby Love by Nicole Scherzinger Feat."}, {"id": "25", "sentence": "Will.I.Am Baby When The Light by David Guetta Baby's Coming Back by McFly Baby's Coming Back / Transylvania by McFly Back To Black by Amy Winehouse Backfire At The Disco by The Wombats Bad Girl (At Night) by Dave Spoon feat."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}, {"id": "25", "sentence": "Crystal Waters Different World by Iron Maiden Do It by Nelly Furtado Do It 2 Me by Cushh Do It Again by The Chemical Brothers Do It Well by Jennifer Lopez Do It Yourself (Go Out And Get It) by Uniting Nations Do They Know It's Christmas?"}, {"id": "25", "sentence": "From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger, electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the University of Music Freiburg and at the Institute of Sonology (Computer Music) of the Koninklijk Conservatorium The Hague."}, {"id": "25", "sentence": "He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg."}, {"id": "25", "sentence": "For another work he commissioned composers from low-wage countries to plagiarize his own music for a commission for the Festival Klangwerkstatt Berlin."}, {"id": "25", "sentence": "For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India."}, {"id": "25", "sentence": "According to Kreidler, the action entitled Fremdarbeit is intended to focus attention on the themes of exploitation and authorship."}, {"id": "27", "sentence": "event title:TGC # 3 / MAT>NET>PU participating artists: JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB date: Fri 24 Mar 2017 20:00hrs location: DE PLAYER, Rotterdam description: WHY ?"}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "The Experimental Publishing students who contributed to the development of TGC #3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg."}, {"id": "28", "sentence": "In addition, it places itself in the tradition of electro acoustic music and 'musique concrète'; a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages."}, {"id": "28", "sentence": "From the Dark Ecology project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time."}, {"id": "28", "sentence": "Both in active mines and in the abandoned mines, buildings, surrounding areas and logistics locations in Finland, Sweden, the Netherlands, the Czech Republic, Russia and elsewhere."}, {"id": "28", "sentence": "For example, mining is in the arctic zone and research and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies."}, {"id": "28", "sentence": "For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid."}, {"id": "28", "sentence": "Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies."}, {"id": "28", "sentence": "‘Mining’ BJ Nilsen, ‘Jazz’ Max Franklin and ‘Earthquake’ Aurelie Lierman."}, {"id": "28", "sentence": "For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}, {"id": "28", "sentence": "These questions are really haunting me.’ ‘Far down in the Earth the rock is actually moving."}, {"id": "28", "sentence": "For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape."}, {"id": "29", "sentence": "This approach can also be seen in the approach of the electronic voice phenomena (EVP) of Friedrich Jürgenson, a researcher who claimed to have detected voices of the dead hidden in radio static."}, {"id": "29", "sentence": "He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}, {"id": "34", "sentence": "event: title: MUSIC&CAPITALISM date:Sat 18 May 2013 09.00 hrs - 24.00 hrs location: SKAR office , Groot Handelsgebouw, Rotterdam artists: MARCO FUSINATO & JOHANNES KREIDLER description: A reading in combination with a 6 hrs concert by Marco Fusinato."}, {"id": "34", "sentence": "Marco Fusinato's (AU) mangled noise-guitar excursions are informed by the political explosions and pitfalls of of radical collectives from Autonomia and beyond."}, {"id": "34", "sentence": "publication: title: Spectral Arrows catalogue number: DOB 065 artist: Marco Fusinato liverecordings by Gerben Kokmeijer edited by Marco Fusinato description: Stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato his endurance performance Spectral Arrows for DE PLAYER at 18 May 2013 at Groothandelsgebouw, Rotterdam, The Netherlands Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics."}, {"id": "34", "sentence": "In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours."}, {"id": "34", "sentence": "Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work."}, {"id": "34", "sentence": "For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole."}, {"id": "34", "sentence": "Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}, {"id": "34", "sentence": "We got in touch with Marco Fusinato through our 8-INCH series."}, {"id": "34", "sentence": "For this we published 8 inch records with artists and labels."}, {"id": "34", "sentence": "One of these labels was Circle Records which had been running for a few years by John Nixon, Julian Dashper and Marc Fusinato."}, {"id": "34", "sentence": "For the release event only John Nixon could be present."}, {"id": "34", "sentence": "From this perspective also his live performances can be considered as black mass implosions."}, {"id": "34", "sentence": "Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording."}, {"id": "34", "sentence": "As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies."}, {"id": "34", "sentence": "Marco Fusinato’s Mass Black Implosion series began in 2007."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}, {"id": "34", "sentence": "In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration."}, {"id": "34", "sentence": "Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or in this case to the production of noise."}], "Tungsten": [{"id": "28", "sentence": "Without tantalum and niobium, there are no micro-capacitors; without gallium, no photovoltaics.’ Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite, spodumene) Platinum Potassium (from langbeinite, sylvite, and sylvinite) Rare-earth elements (bastnäsite, loparite, monazite, xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the product of Sydvaranger mine, Kirkenes Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product over 0.15mm: less than 0.2% 0.053mm – 0.15mm: less than 20% under 0.053mm: up to 80% Source: http://sydvarangergruve.no/produkt ‘In mining there are two types of waste."}], "Song": [{"id": "25", "sentence": "The Ping Pong Song) by Enrique Iglesias Doing It Right by The Go!"}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "Blackers around the world have used software such as Synthesia, FL Studio, SynthFont, Virtual MIDI Piano Keyboard, Piano From Above, MIDITrail, vanBasco Karaoke Player, MIDIPlayer (Java program), MAMPlayer, Music Studio Producer, Singer Song Writer, Tom's MIDI Player, TMIDI, and Timidity++ to create Black MIDIs."}], "care": [{"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}], "'Para-phonic": [{"id": "01", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "11", "sentence": "Para-phonic Poly-diso’ (Polyphonic Paradiso) and it consists out of two parts: 1) An interactive graphic score / light box / kinetic work fixed inside the cabinet."}, {"id": "11", "sentence": "Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir."}], "inserted": [{"id": "31", "sentence": "It is a machine into which a coin is inserted and from which a score printed on a roll of paper is then delivered."}], "between": [{"id": "01", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "01", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "01", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "04", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "04", "sentence": "* Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "04", "sentence": "It's not a matter of an event between spectators and a musician, it's 'a space to submit to a process."}, {"id": "06", "sentence": "Developed and designed in good cooperation between Kris and the team of DE PLAYER."}, {"id": "06", "sentence": "-If you force me to choose between those two, then drone."}, {"id": "07", "sentence": "As a sourcebook, it is without peer, focusing on recordings, record objects, artwork for records, and record installations made by hundreds of artists between World War II and 1989."}, {"id": "07", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "07", "sentence": "I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.” Régine Debatty we-make-money-not-art.com URL:https://telcosystems.net/product/resonanz/ -Julia Bünnagel is a contemporary sound and sculpting artist based Cologne."}, {"id": "07", "sentence": "-Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "08", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "09", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "10", "sentence": "They reveal in an immediate way the activities taking place between computer processes in the widest sense and the computer electronics they are running on."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "14", "sentence": "In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior."}, {"id": "14", "sentence": "Derek Holzer is an American instrument builder and sound artist based in Helsinki FI & Berlin DE, whose current interests include DIY analog electronics, the relationship between sound + space, media archaeology and the meeting points of electroacoustic, noise, improv and extreme music."}, {"id": "14", "sentence": "Derek Holzer (USA 1972) is a sound + light artist based in Helsinki & Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology, and participatory art forms."}, {"id": "15", "sentence": "John Cage once quipped that Serge Tcherepnin's synthesizer system was \"the best musical composition that Serge had ever made\", and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed."}, {"id": "16", "sentence": "To sign up send an email to: prod(at)piksel(dot)no VECTOR SYNTHESIS is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound+image."}, {"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "24", "sentence": "The reader will see inscriptions that oscillate between pictures and writing, and between visual and auditory, exemplifying those capacities of drawing to operate in the spaces between languages."}, {"id": "27", "sentence": "The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge."}, {"id": "27", "sentence": "This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "28", "sentence": "What is the relationship between the sounds of mining and the community that surrounds it?"}, {"id": "28", "sentence": "In this way the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener."}, {"id": "28", "sentence": "The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing.’ ‘We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone."}, {"id": "28", "sentence": "‘You cannot talk about mining in the North without getting into the question what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these."}, {"id": "31", "sentence": "His presentation was a cross-over between a lecture and a demonstration."}, {"id": "33", "sentence": "DE PLAYER always has a strong interest in decoupling publising from a stereotypical understanding of making things public that comes from an historical and economical media constraint linked to the print, software, music, and film industries, and that has limited any form of meaningful explorative complementary or conflictual combinations between media in the field of cultural production."}, {"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "laptop": [{"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "14", "sentence": "The past few years there has been a strong response to the sterile world of sound and video from the laptop."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "16", "sentence": "You will then explore Lissajous figures, waveform representations, and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real time on an XY oscilloscope, Vectrex game console, ILDA laser display, and other analog vector displays, or with oscilloscope emulating software directly on your laptop."}, {"id": "22", "sentence": "Fersteinn plays from animations made as compositions on a laptop."}], "affiliated": [{"id": "09", "sentence": "www.helgajakobson.com JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}, {"id": "27", "sentence": "www.helgajakobson.com * JOHANNES BERGMARK (se) Johannes Bergmark is a Fylkingen affiliated sound artist, instrument builder and piano technician."}], "player": [{"id": "02", "sentence": "URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 creation date: 24/03/2017 publication title:Tetra Gamma Circulaire #3 catalogue number: DOB 084 artists: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg Description: Tetra Gamma Circulaire (TGC) [an unknown audio magazine]"}, {"id": "04", "sentence": "YANN GOURDON (fr) Hurdy-gurdy player, composer, and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium."}, {"id": "05", "sentence": "URL:https://www.deplayer.nl/releases/dob079"}, {"id": "06", "sentence": "the magnets for the sensor ride on top of the record players platter and could be placed freely to make your own patterns."}, {"id": "06", "sentence": "Author: Kris Delacourt, Remörk, DE PLAYER URL: https://www.deplayer.nl/releases/principium-20"}, {"id": "06", "sentence": "As for Delacourt didn’t just want to publish a record with recordings of the Principium 1 he decided to transpose the idea onto a prepared record player using magnets and a specific device… http://www.psychedelicbabymag.com/2016/08/remork-aka-kris-delacourt.html"}, {"id": "06", "sentence": "For example, there’s this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down, shit like that."}, {"id": "06", "sentence": "Peter brought 6 record players, matching the 6 colours of the vinyl nicely - 2 notes each."}, {"id": "09", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}, {"id": "21", "sentence": "Use of consumer electronics for improper use (eg tape recorder, telephone) but also self-invented technical devices and software, other machines (computer, record player, effect equipment) and a variety of speech techniques are used so that, among other things, classical reading forms are exceeded."}, {"id": "23", "sentence": "URL:https://www.deplayer.nl/events/och-toch-fersteinn-marc-matter-jörg-piringer-alexander-brener-barbara-schurz The animations of Steinn were also used by Goodiepal when he visited DE PLAYER on 17 December 2015 with his project on Icelandic animated notation."}, {"id": "23", "sentence": "URL: https://www.deplayer.nl/releases/dob046-10-fersteinn The idea of Anitation and the work of Gudmunder Steinn fits perfectly in Pushing Scores."}, {"id": "26", "sentence": "Also the technical implementation of possibilities to program the record players is interesting regarding for example the idea of schematics as a score."}, {"id": "26", "sentence": "An ensemble of Arduino-powered prepared record players is built as an instrumentation to make an intimate selection from a family archive of popular music."}, {"id": "26", "sentence": "An ensemble of reimagined record players are instruments built to perform an intimate selection from a family archive of popular music : “..a set of records carefully shipped home from a country at war forty years ago”."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "27", "sentence": "At DE PLAYER she will demonstrate her 'spider web record player'."}, {"id": "27", "sentence": "Her spider web record player (Arachnes Sonifier), which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors."}, {"id": "28", "sentence": "URL: https://www.deplayer.nl/events/22-june-e-arthha-douglas-kahn-bj-nilsen-aur-lie-lierman-max-franklin"}, {"id": "33", "sentence": "Origins and early history Though the two are unrelated in origin, the concept of impossible piano existed long before black MIDI, manifesting itself within Conlon Nancarrow's work involving player pianos where he punched holes in piano cards, creating extremely complex musical compositions in the same impossible, unplayable spirit of black MIDI."}, {"id": "33", "sentence": "They were created with MIDI sequencers such as Music Studio Producer, and Singer Song Writer, and played through MIDI players such as MAMPlayer and Timidity++."}, {"id": "33", "sentence": "\"[3] Black MIDI has also been considered the digital equivalent, as well as a response, to composer Conlon Nancarrow's use of the player piano which also involved experimenting with several thick notes to compose intricate pieces without hands."}], "Bottle": [{"id": "25", "sentence": "Patrick Stump Curvy Cola Bottle Body by Chico D.A.N.C.E."}], "Tennis": [{"id": "16", "sentence": "Tennis for Two, programmed in 1958 by William Higinbotham on an analog computer at Brookhaven National Laboratories in Long Island NY USA, using an oscilloscope as the display."}], "Thingamajigs": [{"id": "23", "sentence": "Some of the festivals that have included Guðmundur’s music are Tectonics Reykjavík and Glasgow, MATA, Musikin Aika, Ultima, November Music, Transit, Music for People and Thingamajigs, Nordlichter Biennale, Timisoara International Music Festival and ISSTC 2014 in Maynooth, Ireland, where Guðmundur was also Keynote speaker."}], "practitioner": [{"id": "01", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "07", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards3."}, {"id": "14", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "14", "sentence": "The reading starts out of the fact that over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}, {"id": "15", "sentence": "Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, or \"hands dirty\" art in the words of practitioner John Richards."}], "manipulation": [{"id": "16", "sentence": "You can see several demo videos here: http://macumbista.net/?page_id=5000 SOFTWARE The Vector Synthesis library allows the creation and manipulation of 2D and 3D vector shapes, Lissajous figures, and scan processed image and video inputs using audio signals sent directly to oscilloscopes, hacked CRT monitors, Vectrex game consoles, ILDA laser displays, or oscilloscope emulation softwares using the Pure Data programming environment."}, {"id": "28", "sentence": "Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research."}], "potential": [{"id": "01", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "01", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "01", "sentence": "Throughout the project, Jacques Attali’s book ‘Noise: The Political Economy of Music’ will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}, {"id": "07", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "08", "sentence": "People could continuously listen to some publications (Telcosystems, Cold Void, Davide Mosconi) as well take part in the economic process of it by spraying new works for the next potential costumer (Moniker)."}, {"id": "14", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "21", "sentence": "The limits of speech become communication and nonsense, which both have the potential of speech."}, {"id": "29", "sentence": "The record can thus be considered as a potential composition, which is performed by the listener himself through the aforementioned process."}, {"id": "34", "sentence": "This is the energy of implosion, which always infers at least the potential of its counter-energy in explosion, energy radiating out from the single point of origin."}], "Charts": [{"id": "25", "sentence": "This is close to his work Charts Music, in which he used the share prices of various companies to derive pitches."}], "short-lived": [{"id": "27", "sentence": "Often her research leads her to short-lived and organic material with which she develops new systems and methods for engagement."}], "1990s": [{"id": "07", "sentence": "Later the exhibition traveled to the Hague and to Grenoble in the early 1990s."}], "model—namely": [{"id": "12", "sentence": "Attali is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way."}], "anti-social": [{"id": "34", "sentence": "Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air."}], "addres": [{"id": "01", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "started": [{"id": "06", "sentence": "-Kris Delacourt: Well actually, it started out as an artwork, or rather a series of artworks."}, {"id": "09", "sentence": "The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories to change memory, time perception and flow in dance."}, {"id": "22", "sentence": "They had been performing before we started the Pushing Scores project."}, {"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}, {"id": "33", "sentence": "It was uploaded to the site Nico Nico Douga in 2009, and public awareness of Black MIDI started to spread from Japan to China and Korea in the following two years."}], "brightness": [{"id": "16", "sentence": "Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image."}, {"id": "16", "sentence": "https://github.com/macumbista/vectorsynthesis During this workshop, you will learn how to use a custom library in the Pure Data programming environment to directly control the vertical and horizontal movements, as well as the brightness, of a beam of light."}], "curated": [{"id": "01", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Ross": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "collection": [{"id": "01", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "26", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "Her project Untitled Records is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records."}, {"id": "26", "sentence": "UNTITLED RECORDS is a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}, {"id": "26", "sentence": "The multi arm record players with which several timelines can be played - from one single record to an ensemble of vinyls intertwine a juxtaposition of temporalities and imagined narratives trapped within the collection."}, {"id": "31", "sentence": "- Ana Guedes is introducing her project Untitled Records; a performative sound installation weaving historical and emotional narratives through the “instrumentalisation” of a collection of records."}], "exhausted": [{"id": "28", "sentence": "Of course, it only becomes interesting when the resources on earth are exhausted."}], "Live": [{"id": "01", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "07", "sentence": "Type of object: event title: Pu-shi-ng-Sco-res date: 20 January 2017 location: DE PLAYER artists: Telcosystems, Julia Buennagel, Derek Holzer Description: Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "14", "sentence": "Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "pass": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "26", "sentence": "Stained by the passage of time, scratched, with their covers eaten by moths the records are signed and dated; they exist as passive witnesses of a displacement in time and space."}, {"id": "27", "sentence": "She passes on the notation she distils from this to music companies in order to come to performances."}], "why": [{"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}, {"id": "28", "sentence": "That’s why I wanted to have a thread about the regeneration of mining areas."}, {"id": "28", "sentence": "Except for the mining, but that then is also why I find mining in the Arctic especially interesting."}], "singing": [{"id": "11", "sentence": "From this the well-known \"Do-Re-Mi\" and the solfege, a teaching method in music for learning pitch and the singing of sheet music, developed itself."}, {"id": "11", "sentence": "This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach singing of Western music."}], "otherworldly": [{"id": "16", "sentence": "The 1972 Rutt-Etra Video Synthesizer, used famously by the Vasukas in several works, employed an analog computer to manipulate and deconstruct the raster of a conventional video signal with very otherworldly effects."}], "fascinates": [{"id": "28", "sentence": "This ungraspable void of deep time fascinates me: the time compressed in iron ore, the coal that started billions of years ago as organic material, the gold flecked asteroid far away in space, or the more recent ‘slambanken’ in Kirkenes, a manmade landscape of unusable slag that might be mined in the future.’ ‘We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: as though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!’ Pliny the Elder, Naturalis Historia, book XXXIII, 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 ‘If, as Novalis and many of his friends believed, stones, metals, and rock strata amount to transcriptions of the earth’s history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?"}], "spiders": [{"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}], "Ward": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Listening": [{"id": "21", "sentence": "Within \"Radical Listening\" we want to see what the possibilities are of communication and publishing with the current means that are available to us."}, {"id": "21", "sentence": "Listening in the sense of \"Radical Listening\" is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible."}, {"id": "28", "sentence": "Listening underground is like reading the environment."}], "optical/sculptural": [{"id": "07", "sentence": "In contrast to the composer or musician who perceives the record first and foremost as a vehicle transporting his or her musical ideas, here the interest lies especially in the optical/sculptural as well as the acoustic presence and the compression of an idea working with the playback possibilities and impossibilities of recording techniques."}], "utopias": [{"id": "07", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "14", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.” http://macumbista.net"}, {"id": "16", "sentence": "Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time."}], "lights": [{"id": "09", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "27", "sentence": "Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year."}], "Bocelli": [{"id": "25", "sentence": "Holiday Before I Fall To Pieces by Razorlight Beggin by The Four Seasons Beginning Of The End by Status Quo Best Of You by Foo Fighters Bet On It by Zac Efron Better by Tom Baxter Beware Of The Dog by Jamelia Big Girl (You Are Beautiful) by Mika Big Girls Don't Cry by Fergie Bigger Than Big by Super Mal Bing Bang (Time To Dance) by Lazytown Blag Steal & Borrow by Koopa Bleed It Out by Linkin Park Bleeding Love by Leona Lewis Blood Sugar by Pendulum Blood Sugar / Axle Grinder by Pendulum Blue Suede Shoes by Elvis Presley Bones by The Killers Boogie 2nite by Booty Luv Books From Boxes by Maxïmo Park Borders by The Sunshine Underground Break Up by Kim Sozzi Breaking Free by Zac Efron, Andrew Seeley & Vanessa Hudgens Breathless by Shayne Ward Brianstorm by Arctic Monkeys Bubbly by Colbie Caillat Burn Faster by Nine Black Alps Burning Love by Elvis Presley Call The Shots by Girls Aloud Calm Down Dearest by Jamie T Can We Chill by Ne-Yo Can't Get Along (Without You) by Hard-Fi Candyman by Christina Aguilera Carolyna by Melanie C Catch You by Sophie Ellis-Bextor Chain Hang Low by Jibbs Change by Sugababes Changes by Gareth Gates Charlotte by Air Traffic Chasing Cars by Snow Patrol Chelsea Dagger by The Fratellis Clean Up Your Eyes by The Dykeenies Closer by Travis Clothes Off by Gym Class Heroes Clumsy by Fergie Con Te Partiro by Andrea Bocelli Counting Down The Days by Sunfreakz Feat."}], "Balloons": [{"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}], "Workers": [{"id": "28", "sentence": "Workers hear the rock talk, it crackles, it makes sounds, spits slivers."}], "multidimensional": [{"id": "08", "sentence": "In this framework we presented new, specifically for Pushing Scores, produced works in combination with existing works we thought would be interesting to combine and by that give a multidimensional approach on what tactics can be used by making scores and how it will be finally as a tradable object."}, {"id": "29", "sentence": "The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience."}], "afterwards": [{"id": "06", "sentence": "But they were live events, not editing choices made afterwards."}, {"id": "07", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}, {"id": "14", "sentence": "Julia's peculiar method of modifying vinyl records includes the various ways of physical treatment such as sewing, painting or pasting the vinyl surfaces and afterwards mixing them together for yielding an imprudently driving, rhythmic soundscapes following by the white noise, multiple fragments of music along with dirty boom beats."}], "avant-garde": [{"id": "01", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "01", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "12", "sentence": "With the rise of the various avant-garde movements from the beginning of the 20th century, in addition to new forms of \"sound\", the relationship between sound and its visual representation is also being re-examined."}, {"id": "17", "sentence": "George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}, {"id": "28", "sentence": "He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "humming": [{"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "webs": [{"id": "04", "sentence": "His websites attract a large audience of over 40 million unique visits per year."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "04", "sentence": "http://endlesswebsite.blogspot.nl/ JUSTIN BENNETT (uk) is an artist working with sound and visual media."}, {"id": "04", "sentence": "His studio work focusses on editorial book design, publishing projects, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "11", "sentence": "see jpeg drafts below) 2) A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece."}, {"id": "13", "sentence": "His studio focusses on editorial book design, curatorial projects, institutional identities, interactive applications and websites."}, {"id": "13", "sentence": "The studio takes care of the graphic design of the art magazine and website Metropolis M. Remco van Bladel grew up as a kid in the recordstore of his father."}, {"id": "22", "sentence": "He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum website by RYAN ROSS SMITH all about animated notation: http://animatednotation.com/Steinn.html see also: stefan-smulovitz https://animatednotation.wordpress.com/portfolio/stefan-smulovitz/"}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "27", "sentence": "She presented her project entitled Arachnes Sonifier, in which she captures and makes audible spider webs."}, {"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}, {"id": "27", "sentence": "When the webs are harvested, my hand effects their original form."}, {"id": "27", "sentence": "These webs then become a game of Cat’s Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss."}, {"id": "27", "sentence": "The recordings I make of the webs are an act of commemoration, and as Myers and Husk propose; \"This requires reading with our sense attuned to stories told in otherwise muted registers.” The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music which through it’s repetition allows for exploration, interpretation and imagination."}, {"id": "27", "sentence": "These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them."}, {"id": "27", "sentence": "In actuality, they are visual representations of the spider’s consciousness (who can forget Dr Peter Witt’s experiments with drug use on spiders and their resulting webs)."}, {"id": "27", "sentence": "The webs I’ve chosen for this publication were harvested in the fall of 2018, after the first snowfall in Winnipeg, Canada."}, {"id": "27", "sentence": "In searching; imagining where I would make a web, and then marvelling when I find it in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology."}, {"id": "29", "sentence": "publication title: Black Moon catalogue number: DOB 096 artist: John Duncan description: Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}, {"id": "29", "sentence": "The publication Black Moon (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede."}], "automaton": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}], "speculated": [{"id": "16", "sentence": "Figures such as Heinz von Foerster, Gordon Pask, Nam June Paik, Steina and Woody Vasulka, Iannis Xenakis and R. Buckminster Fuller all speculated on the effect of computers on society, and used computer-derived forms in their work."}], "Thu": [{"id": "01", "sentence": "Thu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "01", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMANN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "10", "sentence": "title event: ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN date: Thu 29 Nov 2018 20:00hrs Location: Varia, Rotterdam During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "26", "sentence": "title:ARCHIVING \\ PUSHING SCORES WITH VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN time:Thu 29 Nov 2018 20:00hrs location:VARIA, Rotterdam, NL publication: title: Untitled Records catalogue number: DOB 096 artist: Ana Guedes description event: During this evening we focus on the archiving of our Pushing Scores project."}, {"id": "28", "sentence": "Thus different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognize as science fiction to indicate the future."}, {"id": "31", "sentence": "event title: ARCHIVING \\ PUSHING SCORES date:Thu 29 Nov 2018 20:00hrs location: Varia, Rotterdam artists: VALENTINA VUKSIC, ANA GUEDES, VARIA, NIEK HILKMANN description: During this evening we focus on the archiving of our Pushing Scores project."}], "actions": [{"id": "09", "sentence": "http://kraak.net/festival2017/artist/hiele-martens HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "http://kraak.net/festival2017/artist/hiele-martens * HELGA JAKOBSON (ca) Whether culminating into actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown; it focuses on death, time and ephemerality."}, {"id": "27", "sentence": "These actions are complicated and tenuous, as most human relations with companion species are."}, {"id": "34", "sentence": "Serial in form, each work uses an existing cultural document – a 20th or 21st-century avant-garde music score – as the formal, material and conceptual basis for a set of actions or interventions."}], "theatrical": [{"id": "17", "sentence": "Initially writing theatrical scores similar to Kaprow's earliest Happenings, Brecht grew increasingly dissatisfied with the didactic nature of these performances."}, {"id": "21", "sentence": "The connection of the word and sound can be found in many ways within the art and music of fluxus, rap, early avant-garde, soundproof, laut poetry, music theater, opera, performative series, musical theatrical dad shows, radio plays and installational settings."}], "cause": [{"id": "05", "sentence": "Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) which works as a framework behind his artistic output."}, {"id": "06", "sentence": "And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all."}, {"id": "06", "sentence": "I played around with filtering and octaves, because during testing we’d found that if we used slowly evolving records, the results were a lot more interesting."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "06", "sentence": "Sometimes because of harmonic information, notes that work well together, sometimes of rhythms that worked well, etc."}, {"id": "06", "sentence": "Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together."}, {"id": "06", "sentence": "Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting."}, {"id": "06", "sentence": "We worked on the packaging together, and it looks amazing because of them."}, {"id": "06", "sentence": "When Joseph Beuys was asked why he hated the term 'conceptual art', he said: \"Because a concept, an idea is a starting point, not a final form."}, {"id": "06", "sentence": "-I think I would consider that series of twelve ten inches my vinyl debut.. but maybe because it was 12 different records or in ten inch format, that it doesn’t really count?"}, {"id": "07", "sentence": "because of the direct relation of sound and image and the new interface an object like that represents it was a clear match."}, {"id": "07", "sentence": "Derek Holzer eventually was asked because of his Tonewheels but that was logistically not possible."}, {"id": "08", "sentence": "It works because of getting in contact with an audience which will never come by at DE PLAYER itself."}, {"id": "12", "sentence": "This particularly because of the fact that he focusses on the reproduction of music."}, {"id": "12", "sentence": "He calls this chapter Represent because it is the project of the executive."}, {"id": "12", "sentence": "Because of this ambiguity we are interested for the project what this stage of music could represent."}, {"id": "13", "sentence": "Sound in relation to image remains an elusive phenomenon that continues to fascinate me because sound / music is the most abstract art form."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "14", "sentence": "By this he does not mean the aestheticized, satisfying disturbances and cracking that Kim Cascone valorizes, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal."}, {"id": "19", "sentence": "This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it."}, {"id": "25", "sentence": "Lisa Maffia Balloons by Foals Barbie Girl by Samanda Be Without You by WiFi Beautiful Girls by Sean Kingston Beautiful Liar by Beyonce & Shakira Beautiful Ones by Billiam Because Of You by Ne-Yo Bed by J."}, {"id": "26", "sentence": "Because she uses and record archive it finally almost turns out to be a DJ set."}, {"id": "27", "sentence": "Because of the fact that she was developing a machine which produces sound through the process of reading spider webs, Bas tipped her to contact DE PLAYER."}, {"id": "28", "sentence": "I made field recordings in the winter, you hear ice crystals cracking because there was a layer of ice on the snow."}, {"id": "28", "sentence": "I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in."}, {"id": "28", "sentence": "I also visited Most in the Czech Republic because there is a huge operational open pit mine."}, {"id": "28", "sentence": "It just turned out that way, perhaps because that’s how we generally tend to structure material."}, {"id": "28", "sentence": "But the chronology is interrupted a couple of times, and the different time planes are cut-up, they interact and overlap, because I mix sound recordings that were done at different times."}, {"id": "28", "sentence": "‘The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord."}, {"id": "28", "sentence": "It is a playground for sedimentologists because you can see how land and deltas form."}, {"id": "28", "sentence": "‘I am drawn to the Arctic as a sound person because of its relative remoteness."}, {"id": "28", "sentence": "The relentless nature in the Arctic constantly reminds you that you are a human being and that you are nor really supposed to be there because the harshness of the environment might kill you."}, {"id": "29", "sentence": "By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the listener."}, {"id": "29", "sentence": "The fact that the sound on the records is an everchanging piece because of the psycho acoustic effects, make the record more into a tool than a static recording."}, {"id": "29", "sentence": "Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined and he regularly collaborates with young artists."}, {"id": "33", "sentence": "The Black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel Gingeas), the group was “analogous to those TV shows where there’s a mysterious founder of a civilization that is not really known throughout the course of the show.” Popularity outside Japan The popularity of Black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011, and shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colors and patterns to match the complexity of the notes."}, {"id": "33", "sentence": "Despite this increased computer storage, there are still Black MIDI files that could cause an operating system to slow down."}, {"id": "34", "sentence": "Also because most of his work deals strongly with political issues we invited him for a performance in the event bnamed Music & Capitalism."}], "seems": [{"id": "06", "sentence": "Bringing an 8 hour performance back to an album format seems like a hell of a job."}], "Theodore": [{"id": "28", "sentence": "At this point the ancient conception of mines and mountain caverns as places of lapidary activity encounters a a second folkoristic notion—that in the interior of mountains time stands still.’ Theodore Ziolkowski, German Romanticism and Its Institutions, 1990, p.34."}], "alternative": [{"id": "06", "sentence": "Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not."}, {"id": "33", "sentence": "This is an interesting process in which boundaries can be explored and in which the idea of ​​'cracked media', whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results, is an interesting one."}], "How": [{"id": "06", "sentence": "How do you do that?"}, {"id": "06", "sentence": "How do you decide which parts 'work' on an album, and which don't?"}, {"id": "06", "sentence": "How do you look at the function a piece of vinyl can have?"}, {"id": "09", "sentence": "However, it was decided to start from a floppy disc as a medium."}, {"id": "21", "sentence": "How stories can be told, how traditions are passed on, how past feeds the present and how the present forms itself by muttering the past."}, {"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}, {"id": "27", "sentence": "However, my favourite spider myth is from Greek mythology; that of Arachne who wove a tapestry better than Athena, the Goddess of weaving and war."}, {"id": "28", "sentence": "How much influence does it have on a community?"}, {"id": "33", "sentence": "However, there are no specific criteria of what is considered \"black\"; as a result, finding an exact origin of black MIDI is impossible."}], "Minogue": [{"id": "25", "sentence": "How Could You) Bring Him Home by Eamon (I'm Gonna Be) 500 Miles by The Proclaimers With Brian Potter & Andy Pipkin (Let Me Be Your) Teddy Bear by Elvis Presley With The Jordanaires (You Want To) Make A Memory by Bon Jovi 1234 by Feist 1973 by James Blunt 2 Hearts by Kylie Minogue 3's & 7's by Queens Of The Stone Age 4 Am Forever by Lostprophets 4 In The Morning by Gwen Stefani 505 by Arctic Monkeys A Bad Dream by Keane A Big Hunk O' Love by Elvis Presley With The Jordanaires A Day In The Life by Larrikin Love A Moment Like This by Leona Lewis A Never Ending Dream by Cascada A Public Affair by Jessica Simpson A Whole New World by Katie Price & Peter Andre About You Now by Sugababes About Your Dress by The Maccabees Acceptable In The 80s by Calvin Harris Acrylic by The Courteeners Adagio For Strings by DJ Tiesto Ain't No Party by Orson Alarm Clock by The Rumble Strips Alfie by Lily Allen All Good Things (Come To An End) by Nelly Furtado All I Got by Newton Faulkner All I Need To Know by Emma Bunton All I Want For Christmas Is You by Mariah Carey All My Friends by LCD Soundsystem All She Wrote by Ross Copperman Almost Easy by Avenged Sevenfold Always On My Mind by Elvis Presley Amazing by Seal America by Razorlight An American Trilogy by Elvis Presley An End Has A Start by Editors Anarchy In The UK by The Sex Pistols Angel On My Shoulder by Gareth Gates Annie Let's Not Wait by Guillemots Anonymous by Bobby Valentino feat."}], "projection": [{"id": "04", "sentence": "Floris VanHoof played a set in which he used his brainwaves to influence his synthesizer sounds combining it with projection and laserbeam."}, {"id": "13", "sentence": "This was not about hard comparisons and 1 on 1 projections, but more to interpret, think and work with elements."}], "spiderwebs": [{"id": "27", "sentence": "The sonification of spiderwebs asserts a reverence for the environment, the beauty of the ephemeral and loss."}], "draws": [{"id": "16", "sentence": "It draws on the historical work of artists such as Mary Ellen Bute, John Whitney, Nam June Paik, Ben Laposky, and Steina & Woody Vasulka among many others, as well as on ideas of media archaeology and the creative re-use of obsolete technologies."}, {"id": "34", "sentence": "Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point."}], "curious": [{"id": "09", "sentence": "As a dancer she is curious why there is no universal graphic notation system in the dance."}], "Ideal": [{"id": "26", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "- Niek Hilkmann (part of Varia) will present his UNI (Universal Notation Ideal), a Pay2Print investigation in the simultaneous production and distribution of standardised graphical scores through the mediation of an automaton."}, {"id": "31", "sentence": "During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his UNI (Universal Notation Ideal); a Pay2Print research into the simultaneous production and distribution of standardized graphic scores by means of an automatic machine."}], "assessment": [{"id": "05", "sentence": "The commercial potential and the associated value assessment are problematic for Colson."}], "arguably": [{"id": "16", "sentence": "It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly-playable video game."}], "Moog": [{"id": "16", "sentence": "This gave birth to the realtime-controllable, analog modular synthesizer which was subsequently expanded by others such as Bob Moog and Serge Tcherepnin."}], "nothing": [{"id": "06", "sentence": "Of course, taking what is essentially a reproduction medium, and turning it into something of an instrument in it’s own right again, that’s nothing new.. think hip hop, turntablism, even things like the mellotron did that."}], "mechanical": [{"id": "12", "sentence": "The 3rd stage deals with the mechanical reproduction and the 4th stage could be interpreted that he already was referring to the idea of sampling although it was first published in translation by the University of Minnesota in 1985."}], "step": [{"id": "06", "sentence": "The sequencer controller is a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "For Principium 2 the DOB073 piece is another step in the principle of Pricipoium."}, {"id": "06", "sentence": "I don’t know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys."}, {"id": "06", "sentence": "The next step was when Peter Fengler of DEPLAYER/DOB records said he wanted to do a record with the Casio version."}, {"id": "06", "sentence": "Also because I really am convinced that this is just one more step in something that can keep going, that it doesn’t have to be final."}, {"id": "09", "sentence": "The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps."}, {"id": "11", "sentence": "As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour, and later by keys to certain steps in the medieval ranges."}], "quotations": [{"id": "25", "sentence": "In a 33 second piece he processed 70,200 quotations of foreign works, all of which he submitted individually via forms to the GEMA (the German Buma Stemra)."}], "practice": [{"id": "01", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "04", "sentence": "His artistic practice consists of websites, installations, lenticulars, lectures and haiku."}, {"id": "06", "sentence": " This is an interview on Kris delacourt (Remörk) his practices and the Principium story."}, {"id": "09", "sentence": "Both in artistic practices, and their broader application as a critical methodology of research and exploration."}, {"id": "13", "sentence": "WE had common interest but at the same time a different angle and network in our practice as a stage, publisher and designer."}, {"id": "13", "sentence": "The relation between the sound/music on the records and the visuals on the sleeves and packaging had a strong influence on his nowadays practice."}, {"id": "13", "sentence": "An investigation into methodologies within his own artistic practice."}, {"id": "13", "sentence": "His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent."}, {"id": "13", "sentence": "Both as a source or inspiration, as a metaphor, as a thinking model and as an 'attitude' in relation to his practice."}, {"id": "13", "sentence": "This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice."}, {"id": "14", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation."}, {"id": "14", "sentence": "He came up with a reading on Schematics as a Score, because that was a current issue of his practice."}, {"id": "25", "sentence": "We asked Johannes to do a reading about his practice as a composer during the event we organized around Music & Capitalism."}, {"id": "27", "sentence": "Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral."}, {"id": "28", "sentence": "In practice it’s quite mathematical, but it still it is part of the sound world too."}]} \ No newline at end of file diff --git a/wordlist_proto.json b/wordlist_proto.json deleted file mode 100644 index 506990e..0000000 --- a/wordlist_proto.json +++ /dev/null @@ -1 +0,0 @@ -{"points": [{"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "up": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "these": [{"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "URL": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "under": [{"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "09/09/2016": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "selection": [{"id": "00", "sentence": "The complete selection of scores is published in a music book."}], "Experimental": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "JAKOBSON": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "ArtBookFairBrussel-Vaast": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Jakobson": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "presentations": [{"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "hours": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "innovative": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "februari": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "NET": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "transformation": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Produced": [{"id": "05", "sentence": "Produced on a 'prepared copier'."}], "GB": [{"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "De": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "you": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "offered": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "P·u·s·h·i·n·g": [{"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "/What": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "production": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "experimental": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "A.O": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "originators": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "following": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "nowadays": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "practices": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Rafaël": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "area": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "2.0": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "//www.deplayer.nl/releases/dob079": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "residence": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "e-culture": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Fabriek": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "for": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "ch": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "Latrobe": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "releases": [{"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "now": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Jetset": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "composition": [{"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}], "diverse": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "December": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "SESSION": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "N·o·i·s·e": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "weekend": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "practitioners": [{"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "engine": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "arts": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "varied": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "me": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "We": [{"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}], "Gert-Jan": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "Fengler": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "could": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "card": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "students": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "wherein": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "concrete": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "avant-garde": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Live": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "configurations": [{"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "Bouwman": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "glassplate": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "long": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "entity": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "having": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "cover": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "open": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "contribute": [{"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}], "publication": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "College": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "collective": [{"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "19:00hrs": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "[": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "ones": [{"id": "00", "sentence": "His best ones."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "Chiara": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "begin": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "important": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "possibilities": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "ArtEZ": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}], "Oct": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "HILKMAN": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "times": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "commissioned": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public 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writing of signs in the air."}], "Brecht": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "random": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "artists": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "update": [{"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "LIERMAN": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Oil": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "studenten": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Hilkmann": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "well": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "WORM": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Principium2": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "the": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "out": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "02/07/2017": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "digital": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "thinking": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "AURÉLIE": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "tradition": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Project": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "collaboration": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "02": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "history": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "'participatory": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "seen": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Throughout": [{"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "Melvin": [{"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "he": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "title": [], "Vehicle": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "2016–2017": [{"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "context": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "Book": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "with": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Reijnoudt": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "worked": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "given": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "Brosi": [{"id": "00", "sentence": "So far Evelin Brosi."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Small": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}], "new-media": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "initiated": [{"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "forth": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "conceptual": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "August": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "assemble": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "set": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "entire": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "guide": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "instrument": [{"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Colson": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Sreeuwenberg": [{"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "dare": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}], "AN": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Author": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Kreidler": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "those": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "driver": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "into": [{"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "Player": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "April": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "part": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "Event": [{"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "all": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "Delacourt": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "SUNDOWN": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "ANA": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Sun": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "Sat, 14 & Sun."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "plus": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "audiofile": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "FLOPPY": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "seek": [{"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "Next": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}], "'Tetra": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "//www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "ook": [{"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "signal": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "BENNETT": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "Piringer": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Davide": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "narrative": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "Artez": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "discursive": [{"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "27": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Ruprecht": [{"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "introduce": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "During": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "rv0": [{"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Detail": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "-century": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Saedier": [{"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "visitors": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "age": [{"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "Telcosystems": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "addres": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "Media": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Oostzijde": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "provocative": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "spines": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "One": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}], "who": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "Johannes": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Starting": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "meaning": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "Remörk": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "experienced": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "biotopes": [{"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "Yann": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "PUSHING": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Lierman": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "everyday": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "ART": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}], "inspirational": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "nouveauté": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "parking": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "just": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "specific": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "Attali": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "Arkesteijn": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "running": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "content": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "phenomenon": [{"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}], "emancipate": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "1978": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "touch": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "before": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Center": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "polyphonic": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "JODI": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "M·u·s·i·c": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "compilation": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "active": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "scontemporary": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "ensuring": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "a": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "So far Evelin Brosi."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "Sat, 14 & Sun."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Bowtie": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "So": [{"id": "00", "sentence": "So far Evelin Brosi."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}], "music": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "George": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Moving": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "functions": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "role": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "performance": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "technologies.The": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "to": [{"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "several": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "Riphagen": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "Ellis": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "date": [{"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "editor": [{"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Reinhold": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Bel": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "freely": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "stop": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "curated": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Ana": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Buennagel": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "last": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "Rozendaal": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "issue": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "particular": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "matters": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "First": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "writing": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "mailed": [{"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}], "Hoof": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "are": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "Western": [{"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "Sat": [{"id": "00", "sentence": "Sat, 14 & Sun."}], "o·f": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "He": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "REMCO": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "today": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "weeks": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}], "Kimmy": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "invents": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "DENOTING": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "run": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "assisting": [{"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "score": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "participated": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "Zwart": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "09": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Guedes": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "zie": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "VEHICLE": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Bladel": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "third": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "GUEDES": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "back": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "An": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "widely": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "western": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "some": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "Derek": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "GOURDON": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "https": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "first": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "returned": [{"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "21^st": [{"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "accompanied": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "WIELS": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "produce": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "records": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "i.c.w": [{"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}], "What": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "newly": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "Principium": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "setup": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}], "Manhattan": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "work": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "PA.": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "Score": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "discards": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "PRINCIPIUM": [{"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "Brieselaan": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "such": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "copies": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "The": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "2016": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Moniker": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "presents": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "research": [{"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "/The": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "marginalised": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "South": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Sonic": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "design": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "jukebox": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}], "interfaces": [{"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}], "Academie": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Can": [{"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "sundown": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "shuffled": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "&": [{"id": "00", "sentence": "Sat, 14 & Sun."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "composer": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Tetra": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}], "and": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Void": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "van": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "local": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "early-": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "unnoticed.": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Gregorian": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "their": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "after": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "radically": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "agreed": [{"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}], "artistic": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "modernist": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Florian": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "sonic": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "Hall": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "Giralt": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Koos": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "participate": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "frame": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "copy": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "issues": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "performing": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "A": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "Metrostation": [{"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "vehicles": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "type": [{"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "6": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "function": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "Canon": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "PINKIE": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "internationally": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "fundamental": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "PU-SH-ING": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "Drip": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "instructions": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "ROZENDAAL": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "au": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "collection": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "Clàudia": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "installations": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "entries": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Universiteit": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Hits": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "new": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "Enschede": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "way": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "old": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "through": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "floppydrive": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "installation": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}], "1962": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "detuning": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "renderings": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "AND": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Jörg": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "2018": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}], "three": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "his": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "audio": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "creative": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "14": [{"id": "00", "sentence": "Sat, 14 & Sun."}], "ask": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "written": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "audience": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "'graphical": [{"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}], "key": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "developing": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Gamma": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}], "20:00hrs": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "BERGMARK": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "2017": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "phone": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "Nilsen": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "//www.deplayer.nl/releases/tetra-gamma-circulaire-3": [{"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "24/03/2017": [{"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "1963": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "until": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "confirm": [{"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "head": [], "orientated": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "c.1962": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "BOWTIE//": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "programme": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "relationship": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "billboards": [{"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Washington": [{"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "in": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "So far Evelin Brosi."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Two": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "fields": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "became": [{"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}], "sheet": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "forms": [{"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "PARADISO": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "084": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Carlson": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "differently": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Vous": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "nomadic": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "energy": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "day": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "what": [{"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}], "Contemporary": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "voice": [{"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "Just": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}], "concert": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "FRANKLIN": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Joy": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "scores": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "usually": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "media": [{"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Rotem-Stibbe": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "Tankred": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "selected": [{"id": "00", "sentence": "For every performance a different instrument has been selected."}], "where": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "invited": [{"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "Maciunas": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "life": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "development": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "object": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "station": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "BLADEL": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "recent": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "It": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "Franklin": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "Type": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "say": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}], "03.150702": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "be": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "His best ones."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "NILSEN": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "objects": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "choir": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "Spreeuwenberg": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "2015.jpg": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "Giovanelli": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "visual": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "creation": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "His": [{"id": "00", "sentence": "His best ones."}], "applications": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "by": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "DUPAC": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "incentive": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "described": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Thirteen": [{"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "Karina": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "instruments": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "González": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "12": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}], "06/02/2015": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "Stereolab": [{"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "designers": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "contains": [{"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}], "recorded": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "foil": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "member": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "aim": [{"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}], "famous": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "SCORE": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Nelle": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Sundown": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "Pu-shi-ng-Sco-res": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "Fri": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "being": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "3": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "we": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Jacques": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "Later": [{"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "ambition": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "generate": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "archiving": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "an": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "VUKSIC": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "By": [{"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}], "Willem": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "state": [{"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}], "22": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Vaast": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "This": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "P·o·l·i·t·i·c·a·l": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "media-technical": [{"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "national": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "DEREK": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "concepts": [{"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "Music": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "informed": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "us": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "international": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "fair": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "TGC": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "princ2-s-2000px-72dpi-79": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "American": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Siep": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "which": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "can": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "translated": [{"id": "00", "sentence": "Can a tune be translated into an image?"}], "but": [{"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Fluxus": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "window": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "hand": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "monastery": [{"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "AMVK": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}], "Douglas": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Verostko": [{"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "works": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "develop": [{"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Dutch": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "Bergmark": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "DOB084": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "continues": [{"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}], "exhibition": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "corner": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Jan": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "02.": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "copied": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "live": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Pour": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "this": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Paris": [{"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "pushing": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "computer": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "Cage": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "group": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "VALENTINA": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "meet": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "Maashaven": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "lectures": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "so": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "travelling": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}], "graphic": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "floppy": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "INFORMATIVE": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "viewer": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Pushing": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "performances": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "provide": [{"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}], "Rozendaal/Luuk": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "public": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "lot": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Feb": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "project": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "T·h·e": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "number": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "like": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "Steve": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "relationships": [{"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "Museum": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}], "remain": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Scores": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "br": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "Nadine": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "play": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "17": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "join": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "collectively": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "confines": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Then": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "enables": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "ARCHIVING": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Institute": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "BUENNAGEL": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "reading": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "Antwerpen": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "MacDiarmid": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "machine": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "is": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "His best ones."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "int": [{"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "20^th": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "record": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "desire": [{"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "unfolds": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}], "Drivers": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "NCE": [{"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "special": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "there": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "lecture": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "details": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Left": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Wiels": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "event": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "artist": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "related": [{"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}], "2-3": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "18:00hrs": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "motto": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "companies": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Focussing": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "best": [{"id": "00", "sentence": "His best ones."}], "published": [{"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "also": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "c.": [{"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "redefine": [{"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "EVENT": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "belief": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "previously": [{"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "XPUB": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "have": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "3.5": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "'prepared": [{"id": "05", "sentence": "Produced on a 'prepared copier'."}], "PU": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "include": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "drawing": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day 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(can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "1": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Sat, 14 & Sun."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "vehicle": [{"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "tenth": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "Description": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Floris": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "MARTENS": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "'Para-phonic": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "GesammttkkunnsttMeshuggahhLaandtttt": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "1961": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "between": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}], "solo": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "underneath": [{"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "partners": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "believe": [{"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "ROTTERDAM": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "Coming": [{"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "conducted": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "hang": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "questions": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "based": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "Matthieu": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "start": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Goudron": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "approaches": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "20:30hrs": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "reference": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "cultural": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "organisations": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "signs": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "2008": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Rowan": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "scripture": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}], "Vincent": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "precursor": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "included": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "Witte": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "Greatest": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "present": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Pinkie": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "sensitivities": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "JUSTIN": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "bigger": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "24": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "materialised": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "departure": [{"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "n·o·t·a·t·i·o·n": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "most": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "release": [{"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "workshops": [{"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "PLAYER": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "Publishing": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "sun": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "drawn": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "were": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "form": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "s": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "So far Evelin Brosi."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "His best ones."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "compiling": [{"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "years": [{"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "consultant": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "4.5.": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "meeting": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "that": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "As": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "search": [{"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}], "Resonanz": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "attempt": [{"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "magazine": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "transparent": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "Based": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "features": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "Haan": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "other": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "zine": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "involved": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Colson….beschrijving": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Creation": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "HELGA": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "amplified": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "involvement": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "many": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}], "relation": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}], "would": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Stephen": [{"id": "17", "sentence": "This work was performed at St Vincent College 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"sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "experiments": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "notation./": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we 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2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "specialised": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, 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particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}], "vital": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "NOTING": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "Remco": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "Right": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "randomly": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "deck": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Valentina": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "mobile": [{"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "s·c·o·r·e·s": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "musical": [{"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "Explorer": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Thu": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "'s": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "our": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Kahn": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Keywords": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Circulaire": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}], "sunset": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "de/nl": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "went": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "KAHN": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Varia": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "languages": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "06.": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}], "its": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "Location": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "St": [{"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "art": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "'graphic": [{"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "aka": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "S·c·o·r·e·s": [{"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "cut": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "Duncan": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "flip": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "sound": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "friends": [{"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}], "instructed": [{"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "on": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "His best ones."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Produced on a 'prepared copier'."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "unveil": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "program": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "named": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Jun": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "rises": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "Pfizer": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Wiesbaden": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "launched": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "professional": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Charlemagne": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Design": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "Kris": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "notation": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "modified": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "electronic": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Anne-Mie": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "at": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Sat, 14 & Sun."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "1926": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "or": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "point": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "alone": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "different": [{"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "HOOF": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "demonstrating": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}], "wifi": [{"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "it": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Van": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "still": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Noordt": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "01": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Margreet": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy 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"00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "participants": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "constellations": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "TUNING": [{"id": "00", 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"00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "publishing": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of 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compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "chemist": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "image": [{"id": "00", "sentence": "Can a tune be translated into an image?"}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "short": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}], "unknown": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Niek": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "In": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "internal": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "Mar": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "park": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Michael": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "MORE": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "grahic": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "serving": [{"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "15": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "various": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "death": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "events": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Master": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}], "TGC1club-web-06": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "interested": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "researching": [{"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}], "BY": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "s·c·o·l·a": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "theoreticians": [{"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "behind": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "se": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "Paradiso": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Kent": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "artworks": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "decades": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Vehicles": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "Francisco": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "E·c·o·n·o·m·y": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "John": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "5": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Cramer": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "chants": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "Dukalska": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "listen": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "platform": [{"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "see": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Max": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "Antwerp": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "BJ": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "RAFAËL": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "played": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "fr": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "YANN": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "culture": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "ways": [{"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "flop": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "know": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}], "Evelin": [{"id": "00", "sentence": "So far Evelin Brosi."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "THE": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Aurélie": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "representation": [{"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}], "medium": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "evenings": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "category": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "magnets": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "will": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "Arnhem": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Polyurethaan": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "engraved": [{"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}], "I": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "POLY-DISO": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "CCA": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "book": [{"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "Helga": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Martens": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "der": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "PU-SHI-NG-SCO-RES": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "question": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}], "musicians": [{"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}], "categories": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "//www.deplayer.nl/events/principium-20-stadslimiet-antwerp": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "copier": [{"id": "05", "sentence": "Produced on a 'prepared copier'."}], "Some": [{"id": "02", "sentence": "Some dare say it's a kind of jukebox."}], "get": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "themes": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "On": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}], "wrongfully": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "dub": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}], "Fr": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "17", "sentence": "c. 1963 ( I can confirm that Fr Melvin Ruprecht participated."}], "them": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "body": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "Events": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Piet": [{"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "]": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "AT": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "GEORGE": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "VAN": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "20": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "turn": [{"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "developed": [{"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "performed": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Tilburg": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Nov": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "Julia": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Our": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "complete": [{"id": "00", "sentence": "The complete selection of scores is published in a music book."}], "Made": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "PARA-PHONIC": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}], "juli": [{"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "E-ARTHHA": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}], "familiar": [{"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}], "own": [{"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}], "including": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "ecology": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}], "pt": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "show": [{"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}], "constitutes": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "Johnson": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "similar": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}], "every": [{"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "BRECHT": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "FLORIS": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "evening": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}], "two-year": [{"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}], "audio-visual": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "took": [{"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "DETUNING": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}], "dating": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "WITH": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "centred": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "Fine": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "may": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Presentation": [{"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "engineered": [{"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}], "air": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "Presented": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "12:00hrs": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}], "already": [{"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}], "Mosconi": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "developments": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "gather": [{"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}], "night": [{"id": "00", "sentence": "Just so you can see them day and night, for about three weeks long."}], "Vos": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "Poly-diso": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}], "Vuksic": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "session": [{"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}], "standard": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "29": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "potential": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}], "15:00hrs": [{"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "Hiele": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "artwork": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "Rotterdam": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "guests": [{"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}], "Schematic": [{"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}], "JOHANNES": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}], "/title": [], "Sportsman": [{"id": "17", "sentence": "Location: St Vincent College, Latrobe, PA., parking area behind Sportsman's Hall, 1963."}], "Laetitia": [{"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}], "Each": [{"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}], "nl": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "from": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "AMVK and JODI will show up to get informed on matters and will start to produce their floppy for the collection from there."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "Prins": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "Amsterdam": [{"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "each": [{"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "NIEK": [{"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}], "instruction": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "Each card held an instruction to be performed with a vehicle."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}], "Colson-6d-20160909-57-20": [{"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "collaborating": [{"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}], "Mobil": [{"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}], "Participants": [{"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Giulia": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}], "only": [{"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}], "ambiance": [{"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}], "Technische": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "of": [{"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}, {"id": "00", "sentence": "The meeting is open for public who is interested in experimental ways of publishing or just like to hang out in a ambiance of artistic nouveauté."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "The voice for this work is by Laetitia Saedier of Stereolab."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "The complete selection of scores is published in a music book."}, {"id": "00", "sentence": "The E-ARTHHA event is about the search for new interfaces and possibilities of sound composition, image and performance."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout 2016 and 2018 this project will research the phenomenon of notation and the graphic representation of music."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "This continues to question the representation of sound in media; so what is the current state of the graphic score?"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts, and performance."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "TGC #3 is a particular kind of publishing platform engineered for sonic experiments, instruments, and installations."}, {"id": "02", "sentence": "Some dare say it's a kind of jukebox."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Each copy-run of 99 copies (the maximum run of the machine) on transparent foil will be accompanied by a foil cover with the dub cut audiofile in it."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "Kerckhoven": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "beyond": [{"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}], "principium2.0": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}], "cards": [{"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "17", "sentence": "We became friends and GB mailed instruction cards to me."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "contemporary": [{"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "floppyesk": [{"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "Art": [{"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "stand": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}], "de": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Can the “detuning” of music generate new ways of thinking about the relation between sound and scripture?"}, {"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Next to that there will be graphic works by students of ArtEZ - Graphic Design."}, {"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "Remco van Bladel about the current state and potential of the concept of 'graphical score'."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "Coming from different biotopes, our other guests will all have different points of departure for their performances."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "00", "sentence": "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field."}, {"id": "00", "sentence": "Later on this developed into the type of musical notation we are familiar with in Western music."}, {"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "In an attempt to redefine this concept, we will be compiling a programme in which artists, musicians, theoreticians and practitioners are invited to participate."}, {"id": "00", "sentence": "The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "00", "sentence": "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come./"}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Right: Vehicles, drivers & interested students gather before sunset for a performance of George Brecht's \"Vehicle Sundown Event\"."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "GB agreed to provide instructions for an event at St Vincent."}, {"id": "17", "sentence": "Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "At": [{"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "tune": [{"id": "00", "sentence": "Can a tune be translated into an image?"}], "PZI": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "mid-twentieth": [{"id": "00", "sentence": "In the early- and mid-twentieth century, the abstract developments in the visual arts played a vital role in new approaches to the question of music notation and contemporary avant-garde music."}], "DOUGLAS": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}], "DOB": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": " DOB 084 - Tetra Gamma Circulaire #3 – concrete object with floppydrive, local wifi station and diverse electronic applications - edition 12 pieces Description: Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "Dennis": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "expand": [{"id": "00", "sentence": "By travelling with TGC#3 we aim to expand the floppy collection of it and focus on experimental ways of publishing."}], "presented": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}], "HOLZER": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "TELCOSYSTEMS": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}], "DE": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "As a production platform, specialised in the relationship between sound, art, publishing and performance, for ART Rotterdam 2017 DE PLAYER presents works of artists within the frame of the project Pu-shi-ng-Sco-res; a project by DE PLAYER and Remco van Bladel, Dutch graphic designer."}, {"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine."}, {"id": "00", "sentence": "Fri 12 Jan 2018 20:30hrs @Paradiso, Amsterdam PARA-PHONIC POLY-DISO BY REMCO VAN BLADEL AT PARADISO AMSTERDAM This day the work 'Para-phonic Poly-diso' will be launched at The Small Museum of Paradiso, Amsterdam."}, {"id": "00", "sentence": "This work, developed for the Small Museum project of Paradiso, is part of Pushing the Score; a research project by DE PLAYER i.c.w."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}, {"id": "00", "sentence": "Thu 29 Nov 2018 20:00hrs @VARIA, Rotterdam ARCHIVING PUSHING THE SCORE WITH VARIA, VALENTINA VUKSIC, ANA GUEDES, NIEK HILKMAN AND MORE On this evening we focus on archiving our Pushing the Score project."}, {"id": "00", "sentence": "P·u·s·h·i·n·g S·c·o·r·e·s is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}], "MAT": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH JOHANNES BERGMARK, HIELE MARTENS, HELGA JAKOBSON, XPUB An evening with remarkable experiments and materialised conceptual flip flop."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}], "For": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "For the Pinkie Bowtie session we invited Antwerp related artists to contribute to the project."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "17", "sentence": "For his \"Vehicle Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}], "direction": [{"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "going": [{"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}], "Acts./": [{"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "during": [{"id": "00", "sentence": "The entire music book will be performed three times during the South Explorer weekend."}], "as": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "00", "sentence": "Sun 15 Oct 2017 15:00hrs @Pinkie Bowtie, Antwerp TGC#3 @ PINKIE BOWTIE// AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 is travelling now as an open floppy platform."}, {"id": "00", "sentence": "First station is at Pinkie Bowtie Antwerp where we will introduce the TGC#3 in its entity as an unknown music magazine and point out its specific features by demonstrating the floppy works which are already in the collection."}, {"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}, {"id": "00", "sentence": "Thirteen of these scores will be on show on the billboards underneath Maashaven Metrostation."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of \"energy\" in the bigger narrative of ecology and other sensitivities."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}, {"id": "00", "sentence": "What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’, serving as some kind of sheet music?"}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "Throughout the project, Jacques Attali’s book N·o·i·s·e: T·h·e P·o·l·i·t·i·c·a·l E·c·o·n·o·m·y o·f M·u·s·i·c will function as a reference and inspirational guide; “pushing the score” in search of its current potential."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}, {"id": "01", "sentence": "Type of object: event Project:Tetra Gamma Circulaire For Art Rotterdam Description:DE PLAYER presented its new internationally orientated audio magazine 'Tetra Gamma Circulaire' (TGC), and the new Pour Vous #5 / Principium 2.0 release by Remörk."}, {"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "02", "sentence": "TGC #3 is compiled in collaboration with students of the Piet Zwart Institute, and is also part of their Experimental Publishing programme of the Media Design Master, named XPUB."}, {"id": "02", "sentence": "Made of concrete as a body, an internal stand alone wifi station enables you to get in touch with the content of this floppyesk magazine."}, {"id": "02", "sentence": "Author: Piet Zwart Institute XPUB, DE PLAYER, Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe, Kimmy Sreeuwenberg URL: https://www.deplayer.nl/releases/tetra-gamma-circulaire-3 Creation date: 24/03/2017"}, {"id": "03", "sentence": "The installation setup contains 6 of 12 releases of PRINCIPIUM 2.0."}, {"id": "03", "sentence": "During the performance which took, several hours visitors could freely join, listen and ask questions to the artist, Remörk aka Kris Delacourt."}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "03", "sentence": "Event Tetra Gamma Circulaire 1, 06. release principium2.0"}, {"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}, {"id": "05", "sentence": "The image copied in the zine is a drawing which is engraved in the glassplate of the copy machine."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}, {"id": "17", "sentence": " George Brecht (August 27, 1926 – December 5, 2008), born George Ellis MacDiarmid, was an American conceptual artist and avant-garde composer, as well as a professional chemist who worked as a consultant for companies including Pfizer, Johnson & Johnson, and Mobil Oil."}, {"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}, {"id": "17", "sentence": "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art."}, {"id": "17", "sentence": "He described his own art as a way of “ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.” SUNDOWN VEHICLE EVENT by GEORGE BRECHT Left: George Brecht, 1961, Two Vehicle Events, Detail of a 3.5 \" by 4.5. card."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}, {"id": "17", "sentence": "Drivers were instructed to assemble at sundown in a parking lot and randomly park their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}, {"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}, {"id": "17", "sentence": "I believe it was before I went to Washington as NCE editor, rv0"}], "Gourdon": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}], "next": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest 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TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": "Author: Remörk, Kris Delacourt, DE PLAYER URL: https://www.deplayer.nl/events/principium-20-stadslimiet-antwerp Creation date: 02/07/2017 Media: Kris princ2-s-2000px-72dpi-79 02 juli 2015.jpg Keywords: release, event, score, magnets, Polyurethaan, record, audio, PRINCIPIUM 2.0, Stadslimiet Antwerp, Kris Delacourt, Remörk Related entries: 01."}, {"id": "05", "sentence": "Author: Vaast Colson, De Player URL:https://www.deplayer.nl/releases/dob079 Creation date: 09/09/2016 Media: ArtBookFairBrussel-Vaast Colson-6d-20160909-57-20,jpg Keywords: instrument, score, copy, Vaast Colson, De Player, Wiels Art Book fair Related entries: Vaast Colson….beschrijving zie ook Principium 2.0 release Kris Delacourt"}], "disciplines": [{"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "produced": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Cold": [{"id": "00", "sentence": "Thu 09 Feb 2017 12:00hrs - Sun 12 Feb 2017 18:00hrs @ART Rotterdam / Van Nelle Fabriek, Rotterdam PU-SHI-NG-SCO-RES AT ART ROTTERDAM For ART Rotterdam we present Experimental Jetset, Davide Mosconi, DUPAC, Moniker, Cold Void [Rafaël Rozendaal/Luuk Bouwman] and Telcosystems."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "073": [{"id": "03", "sentence": "Type of object: event Project:Principium 2.0 At Stadslimiet Antwerp Description: Presentation of PRINCIPIUM 2.0 (DOB 073) in Stadslimiet Antwerp."}], "microphones": [{"id": "05", "sentence": "The copy machine is amplified by several internal microphones by which the sound of every run is recorded."}], "made": [{"id": "05", "sentence": "Type of object: Event Project: Description: Presented at WIELS Art Book fair 2016 was this live made copy zine named \"Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine\" by Vaast Colson."}], "Vanhoof": [{"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "2015-02.jpg": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}], "kinds": [{"id": "17", "sentence": "One of many similar kinds of instructions that were given to participants."}], "Roman": [{"id": "17", "sentence": "This work was performed at St Vincent College under the direction of Stephen Joy with Roman Verostko assisting."}], "studio": [{"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}], "when": [{"id": "00", "sentence": "G·r·a·p·h·i·c s·c·o·r·e·s and n·o·t·a·t·i·o·n have a long history, dating back to the tenth century, when the Gregorian chants of the s·c·o·l·a c·a·n·t·o·r·u·m were already being conducted through the writing of signs in the air."}, {"id": "17", "sentence": "Steve Joy took me to meet George Brecht in his studio when I was in residence at St Michael's in Manhattan (c.1962)."}, {"id": "17", "sentence": "I brought Steve Joy to St Vincent College when I returned to the monastery from Paris in 1963."}], "HIELE": [{"id": "00", "sentence": "Fri 24 Mar 2017 20:00hrs @DE PLAYER, Rotterdam TGC # 3 / MAT>NET>PU - WITH 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Sundown Event\", GB published a set of about 50 cards to be given to participants who participated in the event with their vehicles."}, {"id": "17", "sentence": "Participants performed about 50 events such as \"turn on lights\", \"start engine\", \"stop engine\", \"open window\"."}], "Holzer": [{"id": "00", "sentence": "Fri 20 Jan 2017 20:00hrs @DE PLAYER, Rotterdam PU-SH-ING WITH TELCOSYSTEMS, JULIA BUENNAGEL AND DEREK HOLZER Live event for our Pushing the Score project with Telcosystems (nl), Julia Buennagel (de) and Derek Holzer (us)."}, {"id": "00", "sentence": "Focussing on the potential of grahic scores and publishing of sound and image we present Telcosystems with their recent publication Resonanz, a reading on Schematic as a Score plus concert by Derek Holzer plus a live performance of Julia Bünnagel with modified records."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}], "metrostation": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "Stadslimiet": [{"id": "01", "sentence": "Author: Kent Tankred, Gert Jan Prins, Dennis de Bel, Chiara Arkesteijn, Peter Fengler, Koos Siep, Remörk, Kris Delacourt URL: https://www.deplayer.nl/events/tetra-gamma-circulaire-art-rotterdam Creation date: 06/02/2015 Media: TGC1club-web-06 februari 2015-02.jpg Keywords: art, event, release, TGC, Tetra Gamma Circulaire, Dennis de Bel, REMÖRK, Gert-Jan Prins, Related entries: 02. release DOB084 Tetra Gamma Circulaire 3, 03.150702 Kris Principium2 Stadslimiet Antwerpen, 06. release principium2.0"}, {"id": "03", "sentence": 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avant-garde music."}, {"id": "00", "sentence": "Pushing the Score is a project researching graphic notation, based on a desire to update this form of music and sound notation for the 21^st century."}, {"id": "00", "sentence": "Starting from the motto ‘from Cage to JODI and beyond’ and from the avant-garde music and sound art of the 20^th century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture."}, {"id": "00", "sentence": "Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation./ /The incentive for this project is the belief that graphic notation in 20^th -century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audio-visual languages and media."}], "25": [{"id": "00", "sentence": "15 April 2018 DE PLAYER presents ‘Greatest Hits’ A solo exhibition by Matthieu Reijnoudt curated by Willem de Haan Location: corner of Maashaven Oostzijde and Brieselaan, next to metrostation Maashaven ‘Greatest Hits’ is an exhibition based on 25 hand drawn scores by Matthieu Reijnoudt."}], "With": [{"id": "00", "sentence": "\tThu 17 Mar 2016 19:00hrs @Witte de With, Rotterdam TUNING – DETUNING / NOTING – DENOTING with YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL A.O."}, {"id": "00", "sentence": "Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on Charlemagne Palestine’s visual renderings of sound included in his exhibition “GesammttkkunnsttMeshuggahhLaandtttt” at Witte de With CCA in Rotterdam."}, {"id": "00", "sentence": "Experimental Jetset (nl) Davide Mosconi (it) DUPAC (int) Studio Moniker (nl) Cold Void [Rafaël Rozendaal/Luuk Bouwman] (nl) Telcosystems (nl) Floris Vanhoof (be) Rafaël Rozendaal (nl) Valentina Vuksic (ch) Ana Guedes (pt) Helga Jakobson (can) Niek Hilkmann (nl) Varia (nl) John Duncan (us) Johannes Kreidler (de) Jörg Piringer (at) BJ Nilsen (se) Douglas Kahn (us) Aurélie Lierman (be) Max Franklin (au) Remco van Bladel (nl) Johannes Bergmark (se) Hiele Martens (be) Vaast Colson (be) Peter Fengler (nl) Florian Cramer (de/nl) Julia Buennagel (de) Derek Holzer (us) JODI (nl) Anne-Mie Van Kerckhoven (be) Evelin Brosi (be) Yann Goudron (fr) Charlemagne Palestine (be) Matthieu Reijnoudt (nl) Willem de Haan (nl) Rowan van As (nl) Vos van der Noordt (nl) Julia Reinhold (nl) studenten XPUB PZI, Rotterdam [Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg] studenten Artez Fine arts & Graphic Design, Arnhem studenten Fontys Academie, Tilburg Witte de With CCA, Rotterdam Pinkie Bowtie, Antwerpen Art Rotterdam Paradiso, Amsterdam WORM, Rotterdam South Explorer, Rotterdam Technische Universiteit van Enschede"}, {"id": "00", "sentence": "A number of specific themes will be initiated, developed and presented in the context of a public research programme in collaboration with artists, designers and various cultural organisations such as the Piet Zwart Institute, the Witte de With Center for Contemporary Art, and Sonic Acts./ /What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a ‘drawing’ serving as some kind of sheet music?"}], "has": [{"id": "00", "sentence": "The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air to the standard notation of western music we know today, and the possibilities offered by new computer technologies.The program includes performances by Yann Gourdon and Floris van Hoof, works by Rafaël Rozendaal and a reading by Remco van Bladel."}, {"id": "00", "sentence": "For every performance a different instrument has been selected."}, {"id": "00", "sentence": "This project on the nowadays meaning of the 'graphic score' has been running the last 2-3 years."}], "influence": [{"id": "17", "sentence": "He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978."}], "MAX": [{"id": "00", "sentence": "Fri 22 Jun 2018 20:30hrs @DE PLAYER, Rotterdam E-ARTHHA WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN, MAX FRANKLIN As you know, there are those evenings after which the sun rises differently."}]} \ No newline at end of file diff --git a/wordlist_v3.json b/wordlist_v3.json deleted file mode 100644 index 22206d6..0000000 --- a/wordlist_v3.json +++ /dev/null @@ -1,37 +0,0 @@ -{ -"way" : [ - { - "id" : "17", - "sentence" : "He described his own art as a way of 'ensuring that the details of everyday life, the random constellations of objects that surround us, stop going unnoticed.'" - }, - - { - "id" : "17", - "sentence" : "Another sentence like way way this." - }, - - { - "id" : "00", - "sentence" : "Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come." - } -], - - - -"artwork" : [ - { - "id" : "17", - "sentence" : "One of the originators of 'participatory' art, in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores such as Drip Music 1962, and is widely seen as an important precursor to conceptual art." - }, - { - "id" : "00", - "sentence" : "It unfolds through a nomadic program which includes the creation of newly commissioned artworks and public events that addres scontemporary questions and issues in this particular field." - }, - { - "id" : "00", - "sentence" : "The discursive program for 2016–2017 will include lectures, presentations of newly commissioned artworks, concert evenings, and workshops." - } - -] - -} diff --git a/wordsearch.py b/wordsearch.py deleted file mode 100644 index b1a7f8d..0000000 --- a/wordsearch.py +++ /dev/null @@ -1,7 +0,0 @@ -text = open('static/files/17. George Brecht_event scores/17.blurb.txt') - -search_words = ['random', 'composer', 'iron', 'car'] - -for line in text: - if any(word in line for word in search_words): - \ No newline at end of file